The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This shift is hard to ignore: the resurgence of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, currently a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.
According to Enninful, the solution has consistently 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 portrait of modern Britain, featuring a broad spectrum of prominent faces from art.
"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end."
The Younger Generation's Awareness
He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
Those early experiences would shape a trailblazing career characterised by fearlessness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker".
"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."
Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including well-documented struggles with depression and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be defined narrowly has propelled him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.
"Galleries didn't always celebrate the most relevant talents because they did not have the right pedigree," he observes.
This project itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he believes, is a proof to the power of defying expectations.
How would the Enninful of that era make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
