The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This shift is increasingly evident: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, today a different political force stands as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.
In Enninful's view, the antidote has always been to promote culture in all its variety. This was the driving force 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 literature.
"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer 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 draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
Those early experiences would forge a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."
Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including publicly shared battles with mental health and addiction.
He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to be defined narrowly has inspired him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group 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 adequate attention at the time.
"Institutions often failed to celebrate the right artists because they lacked the right pedigree," he states.
This project itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a demonstration to the power of following your instincts.
How would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."
He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."