The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This change is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a different political force appears as a potential leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.
For Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.
"People with a voice should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."
The Younger Generation's Awareness
He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."
His formative years would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales increased.
"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor".
"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."
In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including well-documented struggles with depression and addiction.
He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to be typecast has led him outside the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.
"Institutions often failed to celebrate the right artists because they lacked the right pedigree," he states.
This project itself functions with a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Now, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of defying expectations.
How would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
