🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, 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 Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness." Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, currently a different political force stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the response 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 portrait of modern Britain, including a broad spectrum of cultural icons from art. "Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this moment will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was." His formative years would forge a trailblazing career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Launching a Creative Venture He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including well-documented battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "Institutions often failed to shine a light on the truly innovative creators because they did not have the expected background," he observes. This venture itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, 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 Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness." Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, currently a different political force stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the response 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 portrait of modern Britain, including a broad spectrum of cultural icons from art. "Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this moment will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was." His formative years would forge a trailblazing career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Launching a Creative Venture He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including well-documented battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "Institutions often failed to shine a light on the truly innovative creators because they did not have the expected background," he observes. This venture itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."