The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This shift is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political personality appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.
In Enninful's view, the antidote has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from art.
"Individuals with a platform should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."
The beginnings of his career would shape a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales grew.
"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."
Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved adversity, including publicly shared periods of mental health and addiction.
He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to fit into a box has inspired him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.
"The establishment sometimes neglected to shine a light on the most relevant talents because they did not have the expected background," he states.
The magazine 72 itself operates on a novel business model, 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 part of a larger creative platform."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of defying expectations.
How would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
