The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This shift is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, now a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.
According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from art.
"Individuals with a platform should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will fade."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."
Those early experiences would define a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.
"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.
Beyond the Magazine World
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."
Defying the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has included its share of adversity, including well-documented battles with mental health and addiction.
He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear 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 pursue all 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 drive to be defined narrowly has propelled him away from the world that established him. 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 artistic collaboration – and give platform to those who did not receive adequate attention at the time.
"Institutions didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.
This venture itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? 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 creative power brokers. His path, he states, is a proof to the power of following your instincts.
How would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."
