The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That time was the height of the YBA movement – 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 close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This regression is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political personality stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from art.
"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass."
The Younger Generation's Awareness
He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."
His formative years would define a groundbreaking career marked by fearlessness and representation. 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 time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.
"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has involved challenges, including well-documented periods of depression and substance use.
He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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 figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has propelled him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together 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 give platform to those who did not receive due recognition at the time.
"The establishment often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he comments.
The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of defying expectations.
How would the Enninful of that era make of the his current self? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."