🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the zenith of the YBA movement – 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 great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the rise of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a more divisive political figure looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the antidote has always been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music. "People with a voice should employ it," he asserts, discussing 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 refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will fade." Hope in the Next Generation He draws solace in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would define a trailblazing career marked 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 lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. 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." Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including well-documented battles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This determination to fit into a box has propelled him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time. "Institutions often failed to celebrate the most relevant talents because they lacked the traditional credentials," he observes. This venture itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, 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 decided to do something."
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the zenith of the YBA movement – 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 great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the rise of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a more divisive political figure looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the antidote has always been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music. "People with a voice should employ it," he asserts, discussing 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 refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will fade." Hope in the Next Generation He draws solace in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would define a trailblazing career marked 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 lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. 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." Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including well-documented battles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This determination to fit into a box has propelled him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time. "Institutions often failed to celebrate the most relevant talents because they lacked the traditional credentials," he observes. This venture itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, 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 decided to do something."