Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from art.
"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will fade."
Hope in the Next Generation
He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."
His formative years would shape a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.
"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".
"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. 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 unique perspective on the inside and the outside."
Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved hardship, including openly discussed struggles with mental health and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful 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 be defined narrowly has led him away from the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.
"Institutions didn't always shine a light on the right artists because they weren't of the expected background," he states.
This venture itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of following your instincts.
How would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
