The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This regression is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.
In Enninful's view, the antidote has long 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 celebration of modern Britain, featuring a broad spectrum of cultural icons from music.
"Those in a position of influence should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will fade."
Hope in the Next Generation
He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."
Those early experiences would forge a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.
"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."
Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including openly discussed periods of mental health and addiction.
He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to 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 afraid 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 typecast has led him away from the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.
"Galleries often failed to shine a light on the right artists because they did not have the right pedigree," he states.
This project itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."
A Testament to Resilience
Currently, Enninful operates as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of pursuing your passions.
What would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
