The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.
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 buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
A Perceived Regression
This shift is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
For Enninful, the antidote has long been to celebrate 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 portrait of modern Britain, showcasing a broad spectrum of cultural icons from politics.
"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will fade."
The Younger Generation's Awareness
He draws solace in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."
The beginnings of his career would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."
Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including well-documented battles with mental health and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity 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 determination to be defined narrowly has led him outside the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.
"The establishment didn't always shine a light on the right artists because they weren't of the traditional credentials," he observes.
This project itself uses a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he states, is a proof to the power of pursuing your passions.
How would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
