🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, today a different political personality looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again. For Enninful, the antidote has long been to champion 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 portrait of modern Britain, including a broad spectrum of cultural icons from literature. "People with a voice should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this moment will end." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." The beginnings of his career would define a trailblazing career built on boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, 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 suspicion laws … all that gave me a unique perspective between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including openly discussed periods of depression and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 fashion person." A Foray into Curation This refusal to be typecast has led him beyond the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time. "Galleries sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he comments. The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, today a different political personality looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again. For Enninful, the antidote has long been to champion 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 portrait of modern Britain, including a broad spectrum of cultural icons from literature. "People with a voice should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this moment will end." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." The beginnings of his career would define a trailblazing career built on boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, 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 suspicion laws … all that gave me a unique perspective between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including openly discussed periods of depression and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 fashion person." A Foray into Curation This refusal to be typecast has led him beyond the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time. "Galleries sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he comments. The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."