The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This shift is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political figure stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.
For Enninful, the solution has long been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from literature.
"People with a voice should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this period will fade."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."
His formative years would define a trailblazing career built on boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.
"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.
Beyond the Magazine World
He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."
Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, 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 partial sight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. 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 do everything that I was so afraid 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 inspired him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.
"The establishment often failed to celebrate the right artists because they weren't of the expected background," he comments.
This project itself operates on a different business model, rejecting 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 broader vision."
An Unstoppable Drive
Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of defying expectations.
What would the Enninful of that era make of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
