🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This regression is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political force looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more. For Enninful, the antidote has long been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from art. "People with a voice should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end." The Younger Generation's Awareness He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was." Those early experiences would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales rose. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including well-documented periods of mental health and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 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 confine myself to just being an editor or a fashion person." A Foray into Curation This determination to be typecast has propelled him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "Institutions often failed to shine a light on the most relevant talents because they did not have the traditional credentials," he states. This venture itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of defying expectations. How would the Edward of the 90s make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This regression is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political force looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more. For Enninful, the antidote has long been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from art. "People with a voice should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end." The Younger Generation's Awareness He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was." Those early experiences would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales rose. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including well-documented periods of mental health and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 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 confine myself to just being an editor or a fashion person." A Foray into Curation This determination to be typecast has propelled him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "Institutions often failed to shine a light on the most relevant talents because they did not have the traditional credentials," he states. This venture itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of defying expectations. How would the Edward of the 90s make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."