Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
A Perceived Regression
This change is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political personality appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.
For Enninful, the response has long been to celebrate 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 snapshot of modern Britain, including a diverse array of prominent faces from literature.
"Those in a position of influence should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass."
A New Wave of Consciousness
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."
Those early experiences would forge a trailblazing career characterised by fearlessness and representation. 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 time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
Launching a Creative Venture
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."
Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including publicly shared periods of depression and addiction.
He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to be typecast has inspired him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.
"Galleries often failed to promote the truly innovative creators because they did not have the right pedigree," he states.
This project itself uses a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he feels, is a testament to the power of pursuing your passions.
How would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."