🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met 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 rolled into Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the response has long been to celebrate culture in all its diversity. 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 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 could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was." Those early experiences would forge a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside." Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including openly discussed struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, 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." The Tate Britain Exhibition This determination to fit into a box has inspired him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "The establishment often failed to promote the most relevant talents because they lacked the right pedigree," he observes. This project itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a testament to the power of defying expectations. How would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met 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 rolled into Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the response has long been to celebrate culture in all its diversity. 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 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 could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was." Those early experiences would forge a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside." Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including openly discussed struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, 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." The Tate Britain Exhibition This determination to fit into a box has inspired him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "The establishment often failed to promote the most relevant talents because they lacked the right pedigree," he observes. This project itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a testament to the power of defying expectations. How would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."