The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This change is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the late 90s, today a different political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from literature.
"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."
The beginnings of his career would shape a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.
"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."
In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to adversity, including openly discussed battles with depression and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, 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 ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to fit into a box has inspired him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.
"The establishment didn't always celebrate the most relevant talents because they weren't of the right pedigree," he observes.
This venture itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a demonstration to the power of defying expectations.
How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
