🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, currently a different political figure looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. According to Enninful, the response has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from music. "Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade." The Younger Generation's Awareness He finds hope in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose. "To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds." Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including well-documented battles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid 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 typecast has inspired him outside the realm that made his name. He is now putting together a significant 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 explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "Galleries didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he observes. This venture itself operates on a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, currently a different political figure looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. According to Enninful, the response has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from music. "Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade." The Younger Generation's Awareness He finds hope in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose. "To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds." Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including well-documented battles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid 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 typecast has inspired him outside the realm that made his name. He is now putting together a significant 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 explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "Galleries didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he observes. This venture itself operates on a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."