The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This change is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the previous decade, currently a different political figure looms as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.
According to Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from literature.
"People with a voice should use it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this moment will end."
The Younger Generation's Awareness
He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."
His formative years would define a groundbreaking career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.
"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".
"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being between worlds."
Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved hardship, including openly discussed struggles with depression and substance use.
He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be typecast has propelled him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.
"Institutions sometimes neglected to promote the right artists because they weren't of the expected background," he comments.
The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a proof to the power of pursuing your passions.
How would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
