The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
Shifting Attitudes
This shift is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, today a more divisive political personality appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.
For Enninful, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from music.
"Those in a position of influence should use it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will end."
The Younger Generation's Awareness
He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."
His formative years would shape a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
Launching a Creative Venture
He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."
In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to hardship, including well-documented struggles with mental health and substance use.
He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has propelled him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.
"Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments.
This venture itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Today, Enninful stands as one of the world's most powerful cultural influencers. His path, he believes, is a testament to the power of following your instincts.
What would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
