The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This change is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.
In Enninful's view, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.
"People with a voice should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will fade."
Hope in the Next Generation
He finds hope in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."
Those early experiences would shape a trailblazing career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".
"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."
Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has not been immune to challenges, including well-documented struggles with depression and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place 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 prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has inspired him beyond the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.
"Galleries often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he observes.
This venture itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."
An Unstoppable Drive
Today, Enninful stands as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of following your instincts.
How would the Enninful of that era think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."
He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
