The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
Although Enninful appears nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This shift is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political figure stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
According to Enninful, the solution has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.
"People with a voice should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end."
The Younger Generation's Awareness
He draws solace in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."
Those early experiences would define a trailblazing career marked by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales increased.
"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.
Launching a Creative Venture
He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".
"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."
In contrast to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including openly discussed battles with depression and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be typecast has led him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.
"Institutions didn't always promote the truly innovative creators because they lacked the traditional credentials," he observes.
This project itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."
