The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This regression is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the Blair era, now a different political force looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.
For Enninful, the response has long been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from music.
"People with a voice should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will end."
A New Wave of Consciousness
He finds hope in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."
The beginnings of his career would define a groundbreaking career built on fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.
"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
Launching a Creative Venture
He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. 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, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds."
Contrary to the caricature of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to challenges, including publicly shared battles with depression and addiction.
He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to fit into a box has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.
"Galleries didn't always celebrate the most relevant talents because they lacked the right pedigree," he comments.
This project itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of defying expectations.
How would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
