🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "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." A Cultural Backslide This regression is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, currently a different political force stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics. "Those in a position of influence should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this period will pass." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was." Those early experiences would define a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside." In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including openly discussed battles with depression and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be typecast has inspired him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time. "Institutions often failed to celebrate the most relevant talents because they did not have the expected background," he observes. The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of defying expectations. What would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He adds. "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 I am unstoppable once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "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." A Cultural Backslide This regression is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, currently a different political force stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics. "Those in a position of influence should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this period will pass." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was." Those early experiences would define a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity on the inside and the outside." In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including openly discussed battles with depression and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be typecast has inspired him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time. "Institutions often failed to celebrate the most relevant talents because they did not have the expected background," he observes. The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of defying expectations. What would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He adds. "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 I am unstoppable once I’ve decided to do something."