Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This shift is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political personality appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, 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 snapshot of modern Britain, including a diverse array of cultural icons from music.
"Those in a position of influence should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will fade."
Hope in the Next Generation
He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."
Those early experiences would define a groundbreaking career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.
"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.
Beyond the Magazine World
He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."
Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has included its share of hardship, including publicly shared struggles with depression and addiction.
He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in 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 thought, if this ever ends, 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 refusal to fit into a box has led him away from the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.
"Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he observes.
The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.
How would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."