🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy." If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is hard to ignore: the resurgence of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol. In Enninful's view, the antidote has always been to promote 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 broad spectrum of cultural icons from music. "Those in a position of influence should use it," he says, explaining those editorial decisions. "People often debate 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 always loved. I trust this phase will pass." Hope in the Next Generation He finds hope in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was." His formative years would shape a trailblazing career built on fearlessness and representation. Enninful set a precedent 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 leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales grew. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including publicly shared struggles with mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared 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 propelled him beyond the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time. "The establishment sometimes neglected to promote the truly innovative creators because they did not have the expected background," he comments. This project itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of defying expectations. How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy." If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is hard to ignore: the resurgence of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol. In Enninful's view, the antidote has always been to promote 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 broad spectrum of cultural icons from music. "Those in a position of influence should use it," he says, explaining those editorial decisions. "People often debate 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 always loved. I trust this phase will pass." Hope in the Next Generation He finds hope in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was." His formative years would shape a trailblazing career built on fearlessness and representation. Enninful set a precedent 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 leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales grew. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including publicly shared struggles with mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared 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 propelled him beyond the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time. "The establishment sometimes neglected to promote the truly innovative creators because they did not have the expected background," he comments. This project itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of defying expectations. How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."