The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This change is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the previous decade, now a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.
For Enninful, the solution has consistently 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 snapshot of modern Britain, featuring a broad spectrum of influential figures from music.
"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will end."
A New Wave of Consciousness
He takes comfort in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."
Those early experiences would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
Beyond the Magazine World
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. 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 doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds."
Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to challenges, including openly discussed struggles with mental health and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be typecast has propelled him beyond the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.
"Galleries didn't always celebrate the truly innovative creators because they did not have the expected background," he states.
This project itself functions with a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most powerful cultural influencers. His path, he believes, is a demonstration to the power of defying expectations.
What would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."