The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This regression is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political figure appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.
For Enninful, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from literature.
"Those in a position of influence should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will end."
The Younger Generation's Awareness
He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."
The beginnings of his career would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.
"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. 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 brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to adversity, including publicly shared struggles with mental health and substance use.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to fit into a box has inspired him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.
"Galleries often failed to celebrate the right artists because they did not have the right pedigree," he comments.
The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of following your instincts.
What would the Enninful of that era react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."