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 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However 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."
Shifting Attitudes
This regression is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the return of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure appears as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.
For Enninful, the response has always been to champion culture in all its diversity. 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 art.
"People with a voice should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this moment will pass."
A New Wave of Consciousness
He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."
Those early experiences would forge a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, 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, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.
"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".
"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."
Contrary to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including publicly shared periods of depression and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be typecast has led him beyond the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.
"Institutions didn't always celebrate the most relevant talents because they weren't of the traditional credentials," he observes.
This venture itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of defying expectations.
What would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
