🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the rise of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a different political figure stands as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again. For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from politics. "Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this phase will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider." Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including openly discussed struggles with mental health and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has led him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Galleries didn't always promote the most relevant talents because they lacked the traditional credentials," he comments. This project itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of defying expectations. How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined 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 came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."
A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the rise of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a different political figure stands as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again. For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from politics. "Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this phase will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider." Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including openly discussed struggles with mental health and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has led him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Galleries didn't always promote the most relevant talents because they lacked the traditional credentials," he comments. This project itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of defying expectations. How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined 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 came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."