🔗 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 path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. For Enninful, the antidote has consistently been to champion culture in all its diversity. 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 broad spectrum of cultural icons from politics. "Those in a position of influence should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was." Those early experiences would define a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor". "My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds." Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has involved challenges, including well-documented periods of mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, 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." A Foray into Curation This drive to be typecast has propelled him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time. "Galleries sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he states. This project itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of defying expectations. How would the Enninful of that era make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. 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 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. For Enninful, the antidote has consistently been to champion culture in all its diversity. 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 broad spectrum of cultural icons from politics. "Those in a position of influence should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was." Those early experiences would define a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor". "My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds." Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has involved challenges, including well-documented periods of mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, 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." A Foray into Curation This drive to be typecast has propelled him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time. "Galleries sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he states. This project itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of defying expectations. How would the Enninful of that era make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."