🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s. An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again. For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from literature. "Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would define a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented periods of depression and substance use. He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has propelled him outside the world that established him. He is now organising a significant 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 interdisciplinary energy – and give platform to those who weren't given adequate attention at the time. "The establishment sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he states. This project itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of defying expectations. What would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we fled our country. I nearly 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 set my intention to do something."
An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again. For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from literature. "Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would define a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including well-documented periods of depression and substance use. He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has propelled him outside the world that established him. He is now organising a significant 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 interdisciplinary energy – and give platform to those who weren't given adequate attention at the time. "The establishment sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he states. This project itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of defying expectations. What would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we fled our country. I nearly 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 set my intention to do something."