The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. 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 hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."
Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This shift is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from art.
"Those in a position of influence should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass."
A New Wave of Consciousness
He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."
Those early experiences would shape a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.
"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being on the inside and the outside."
Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including publicly shared struggles with mental health and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to fit into a box has led him away from the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.
"Institutions didn't always promote the right artists because they lacked the right pedigree," he states.
The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of following your instincts.
What would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
