The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "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 long for that rawness."
Although Enninful appears wistful, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This change is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force looms as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the solution has always been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from politics.
"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this phase will end."
A New Wave of Consciousness
He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."
His formative years would define a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose.
"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."
Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has involved adversity, including openly discussed battles with mental health and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be defined narrowly has led him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.
"Galleries often failed to promote the truly innovative creators because they lacked the right pedigree," he states.
The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a demonstration to the power of defying expectations.
What would the younger Edward make of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."
He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
