The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"It was the peak 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 felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
Shifting Attitudes
This change is difficult to overlook: the rise of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the previous decade, today a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from literature.
"Those in a position of influence should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will end."
A New Wave of Consciousness
He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."
The beginnings of his career would forge a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has involved hardship, including openly discussed struggles with mental health and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to fit into a box has led him beyond the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.
"Institutions often failed to promote the truly innovative creators because they weren't of the right pedigree," he observes.
The magazine 72 itself operates on a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a proof to the power of defying expectations.
How would the younger Edward react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed 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 whole career. But I am unstoppable once I’ve set my intention to do something."
