The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
Shifting Attitudes
This regression is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, today a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.
For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from politics.
"People with a voice should use it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will fade."
A New Wave of Consciousness
He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."
The beginnings of his career would shape a trailblazing career built on fearlessness and inclusivity. Enninful made history 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 leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew.
"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."
Contrary to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including publicly shared struggles with depression and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, 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 determination to be defined narrowly has inspired him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.
"Institutions sometimes neglected to promote the right artists because they weren't of the expected background," he comments.
This project itself uses a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."
Looking Forward Without Fear
Now, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of defying expectations.
What would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
