The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered 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 yearn for that rawness."
While Enninful may seem nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This shift is difficult to overlook: the rise of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political force appears as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.
According to Enninful, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.
"Individuals with a platform should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade."
Hope in the Next Generation
He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."
The beginnings of his career would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".
"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds."
In contrast to the caricature of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has involved hardship, including publicly shared battles with mental health and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, away from work, terrified 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 ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to be typecast has propelled him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he states.
The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Now, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.
What would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."
