The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This regression is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. In place of the hope of the previous decade, today a different political force appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the response has consistently been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from politics.
"Those in a position of influence should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will end."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."
Those early experiences would forge a pioneering career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.
"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".
"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."
Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including publicly shared battles with depression and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be typecast has inspired him outside the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.
"The establishment didn't always celebrate the most relevant talents because they weren't of the right pedigree," he comments.
The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of following your instincts.
What would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."