The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time 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 close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This regression is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, today a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.
For Enninful, the response has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from politics.
"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this phase will fade."
A New Wave of Consciousness
He takes comfort in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."
The beginnings of his career would shape a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has involved challenges, including publicly shared struggles with mental health and addiction.
He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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 fashion person."
Curating a Cultural Era
This determination to be defined narrowly has propelled him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.
"The establishment often failed to celebrate the truly innovative creators because they lacked the right pedigree," he observes.
The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of pursuing your passions.
How would the younger Edward think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
