The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director 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 knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."
While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Perceived Regression
This change is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.
According to Enninful, the response has long been to celebrate 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 wide range of cultural icons from art.
"Those in a position of influence should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will pass."
A New Wave of Consciousness
He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."
His formative years would define a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"Ignoring large portions of the population, it’s not just 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 leaving his previous role. He says he wants to continue being a "change-maker".
"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."
In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of challenges, including publicly shared battles with depression and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to fit into a box has led him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.
"Institutions often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he comments.
This project itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of defying expectations.
How would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."