Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This shift is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political personality looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from literature.
"Individuals with a platform should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end."
A New Wave of Consciousness
He finds hope in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would forge a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.
"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."
Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has involved hardship, including publicly shared battles with depression and addiction.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be typecast has propelled him beyond the realm that made his name. He is now organising a major 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 capture the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.
"The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he observes.
This project itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
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 defying expectations.
How would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
