The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."
Although Enninful appears nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
A Perceived Regression
This change is increasingly evident: the rise of far-right politics, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, today a different political force stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from literature.
"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this phase will fade."
A New Wave of Consciousness
He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."
Those early experiences would forge a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.
"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider."
Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to challenges, including well-documented battles with depression and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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 figure in fashion."
The Tate Britain Exhibition
This refusal to be defined narrowly has propelled him away from the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.
"Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he comments.
The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a testament to the power of following your instincts.
How would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
