The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
While Enninful may seem nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the late 90s, now a different political figure stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
According to Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature.
"People with a voice should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will end."
The Younger Generation's Awareness
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."
The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.
"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including openly discussed struggles with mental health and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has led him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.
"Galleries didn't always shine a light on the right artists because they did not have the traditional credentials," he comments.
This venture itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Today, Enninful stands as one of the world's most influential cultural influencers. His story, he states, is a proof to the power of pursuing your passions.
What would the Enninful of that era make of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."