The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met 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 bled into Saturday into Sunday. I miss that rawness."
Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, now a different political figure stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.
According to Enninful, the response has long been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from music.
"Individuals with a platform should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will fade."
Hope in the Next Generation
He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would define a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.
Beyond the Magazine World
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".
"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."
Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has involved hardship, including publicly shared battles with mental health and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, 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 fashion person."
Curating a Cultural Era
This determination to fit into a box has propelled him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.
"Institutions often failed to promote the truly innovative creators because they lacked the expected background," he comments.
This venture itself functions with a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Today, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of following your instincts.
What would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."