🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, today a different political force appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the antidote has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art. "Those in a position of influence should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will pass." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." Those early experiences would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Launching a Creative Venture He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator". "I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has involved hardship, including well-documented battles with mental health and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, fearing 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 passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This determination to be defined narrowly has inspired him beyond the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time. "Galleries sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he observes. This venture itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions. How would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, today a different political force appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the antidote has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art. "Those in a position of influence should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will pass." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." Those early experiences would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Launching a Creative Venture He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator". "I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has involved hardship, including well-documented battles with mental health and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, fearing 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 passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This determination to be defined narrowly has inspired him beyond the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time. "Galleries sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he observes. This venture itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions. How would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."