The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
While Enninful may seem wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This change is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, now a different political figure stands as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.
According to Enninful, the solution has always been to promote culture in all its multifaceted forms. 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 cultural icons from art.
"People with a voice should wield it," he says, discussing those publishing choices. "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 education. That’s the Britain I cherished. I trust this phase will end."
A New Wave of Consciousness
He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."
His formative years would shape a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.
"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".
"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."
Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including openly discussed struggles with depression and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be typecast has propelled him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"Galleries sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he states.
This venture itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Today, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations.
How would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."
