The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"It was the peak 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 knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Replacing the hope of the late 90s, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.
According to Enninful, the solution has consistently been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from politics.
"Those in a position of influence should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this moment will end."
The Younger Generation's Awareness
He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."
Those early experiences would forge a trailblazing career marked by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds."
Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including well-documented struggles with depression and substance use.
He has also undergone serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful 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 typecast has led him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Galleries didn't always promote the truly innovative creators because they weren't of the right pedigree," he observes.
The magazine 72 itself uses a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a proof 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 a place for someone like me."
He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
