🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political figure stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more. According to Enninful, the response has always 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 snapshot of modern Britain, showcasing a broad spectrum of influential figures from music. "People with a voice should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will end." The Younger Generation's Awareness He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." His formative years would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states. Launching a Creative Venture He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider." Contrary to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has included its share of challenges, including well-documented battles with depression and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "Galleries often failed to celebrate the right artists because they lacked the expected background," he states. This project itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts. What would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political figure stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more. According to Enninful, the response has always 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 snapshot of modern Britain, showcasing a broad spectrum of influential figures from music. "People with a voice should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will end." The Younger Generation's Awareness He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." His formative years would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states. Launching a Creative Venture He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider." Contrary to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has included its share of challenges, including well-documented battles with depression and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "Galleries often failed to celebrate the right artists because they lacked the expected background," he states. This project itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts. What would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."