The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This change is hard to ignore: the rise of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from literature.
"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this moment will end."
The Younger Generation's Awareness
He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."
The beginnings of his career would forge a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."
Defying the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has included its share of hardship, including well-documented battles with depression and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, anxious 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 afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be defined narrowly has led him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.
"Institutions often failed to promote the right artists because they lacked the expected background," he states.
The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most influential industry leaders. His story, he feels, is a proof to the power of following your instincts.
How would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
