🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." While Enninful may seem sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This change is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, currently a more divisive political personality stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from literature. "Individuals with a platform should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade." A New Wave of Consciousness He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would forge a trailblazing career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew. "To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker". "I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented battles with depression and addiction. He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful 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 fit into a box has propelled him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time. "Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he states. This venture itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of defying expectations. What would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." While Enninful may seem sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This change is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, currently a more divisive political personality stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from literature. "Individuals with a platform should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade." A New Wave of Consciousness He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would forge a trailblazing career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew. "To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker". "I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented battles with depression and addiction. He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful 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 fit into a box has propelled him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time. "Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he states. This venture itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of defying expectations. What would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."