The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."
While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Perceived Regression
This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from politics.
"Those in a position of influence should use it," he says, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will end."
The Younger Generation's Awareness
He finds hope in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."
Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".
"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."
Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has involved challenges, including openly discussed struggles with mental health and addiction.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything 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 typecast has inspired him beyond the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.
"The establishment didn't always celebrate the right artists because they weren't of the right pedigree," he comments.
The magazine 72 itself functions with a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
A Testament to Resilience
Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a proof to the power of following your instincts.
How would the Edward of the 90s think of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
