The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, 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 understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."
If Enninful sounds nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Perceived Regression
This change is increasingly evident: the resurgence of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political force looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the solution has always been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from music.
"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "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 refuge and an opportunity. That’s the Britain I believed in. I trust this phase will end."
A New Wave of Consciousness
He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."
His formative years would shape a groundbreaking career marked by boldness and diversity. Enninful set a precedent 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 tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.
"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."
Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including well-documented periods of mental health and substance use.
He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to fit into a box has propelled him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"Institutions sometimes neglected to celebrate the right artists because they weren't of the expected background," he comments.
The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions.
What would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."
He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
