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 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "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 yearn for that rawness."
If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
A Perceived Regression
This shift is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political figure stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.
According to Enninful, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from music.
"Those in a position of influence should use it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this moment will pass."
The Younger Generation's Awareness
He draws solace in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."
The beginnings of his career would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.
"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."
Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented struggles with mental health and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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."
Curating a Cultural Era
This refusal to be typecast has propelled him outside the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.
"Galleries often failed to celebrate the truly innovative creators because they weren't of the expected background," he observes.
This project itself operates on a different approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."
A Testament to Resilience
Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of following your instincts.
How would the younger Edward make of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."
