Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This regression is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, today a different political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again.
For Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from art.
"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this period will fade."
A New Wave of Consciousness
He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."
Those early experiences would shape a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.
"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."
Contrary to the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has involved hardship, including publicly shared battles with depression and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to fit into a box has propelled him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.
"Galleries didn't always promote the right artists because they lacked the expected background," he observes.
The magazine 72 itself uses a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a testament to the power of defying expectations.
What would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
