🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell 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. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more. According to Enninful, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics. "Individuals with a platform should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this phase will fade." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." The beginnings of his career would shape a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. Beyond the Magazine World He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to adversity, including publicly shared struggles with depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared 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 propelled him beyond the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing 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 spotlight those who weren't given adequate attention at the time. "Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments. This project itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he feels, is a proof to the power of pursuing your passions. How would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. 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 there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."
A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell 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. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more. According to Enninful, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics. "Individuals with a platform should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this phase will fade." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." The beginnings of his career would shape a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. Beyond the Magazine World He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to adversity, including publicly shared struggles with depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared 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 propelled him beyond the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing 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 spotlight those who weren't given adequate attention at the time. "Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments. This project itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he feels, is a proof to the power of pursuing your passions. How would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. 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 there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."