The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
While Enninful may seem sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This change is increasingly evident: the resurgence of far-right politics, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political force looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.
For Enninful, the response has consistently been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.
"Individuals with a platform should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass."
Hope in the Next Generation
He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."
His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.
"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".
"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."
Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has involved challenges, including openly discussed struggles with depression and addiction.
He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be typecast has led him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.
"The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he states.
The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."
Looking Forward Without Fear
Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of pursuing your passions.
What would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."
