Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
Although Enninful appears nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
Shifting Attitudes
This regression is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political figure appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from art.
"Individuals with a platform should use it," he comments, explaining those publishing choices. "Everyone talks 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 education. That’s the Britain I believed in. I hope this moment will fade."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."
Those early experiences would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales grew.
"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."
In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including openly discussed struggles with mental health and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared 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 defined narrowly has inspired him beyond the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.
"Institutions often failed to celebrate the right artists because they lacked the expected background," he observes.
The magazine 72 itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
A Testament to Resilience
Today, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a proof to the power of pursuing your passions.
How would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
