The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
While Enninful may seem nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political force appears as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.
In Enninful's view, the antidote has long been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from art.
"Those in a position of influence should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."
The Younger Generation's Awareness
He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."
Those early experiences would forge a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".
"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."
Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to hardship, including well-documented struggles with mental health and addiction.
He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all 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 drive to be defined narrowly has inspired him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential 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 adequate attention at the time.
"Galleries often failed to promote the truly innovative creators because they lacked the traditional credentials," he comments.
The magazine 72 itself uses a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most influential creative power brokers. His journey, he believes, is a testament to the power of defying expectations.
How would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."
He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly 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 decided to do something."
