The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
Although Enninful appears wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This regression is increasingly evident: the growth of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. In place of the optimism of the previous decade, now a more divisive political force looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the response has long been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.
"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will pass."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."
His formative years would forge a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew.
"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.
Launching a Creative Venture
He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".
"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."
Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including publicly shared periods of depression and substance use.
He has also undergone serious health issues, 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 go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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."
The Tate Britain Exhibition
This refusal to be defined narrowly has led him away from the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.
"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he states.
This venture itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Now, Enninful stands as one of the world's most respected industry leaders. His journey, he believes, is a proof to the power of defying expectations.
How would the Enninful of that era react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost 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."