The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This change is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, now a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.
"People with a voice should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass."
Hope in the Next Generation
He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."
Those early experiences would shape a pioneering career characterised by boldness and inclusivity. Enninful made history 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 diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of hardship, including well-documented periods of depression and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has propelled him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.
"The establishment didn't always celebrate the right artists because they lacked the traditional credentials," he states.
The magazine 72 itself uses a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.
What would the younger Edward think of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."