The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This regression is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, today a different political personality stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.
In Enninful's view, the response has long been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from politics.
"Those in a position of influence should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will end."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."
The beginnings of his career would forge a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."
Defying the popular image of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including publicly shared struggles with mental health and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be typecast has led him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.
"Galleries didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he comments.
This venture itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Today, Enninful operates as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.
How would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."
