🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness." If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the rise of populist movements, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature. "Individuals with a platform should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would forge a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales rose. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in 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 … those experiences gave me a sense of being both an insider and outsider." Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His path has involved challenges, including publicly shared periods of mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, fearing 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 passes, I’m just going to pursue all that I was so fearful 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 fit into a box has inspired him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "The establishment often failed to promote the most relevant talents because they lacked the expected background," he states. This venture itself operates on a novel approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a proof to the power of following your instincts. How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness." If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the rise of populist movements, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature. "Individuals with a platform should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would forge a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales rose. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in 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 … those experiences gave me a sense of being both an insider and outsider." Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His path has involved challenges, including publicly shared periods of mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, fearing 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 passes, I’m just going to pursue all that I was so fearful 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 fit into a box has inspired him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "The establishment often failed to promote the most relevant talents because they lacked the expected background," he states. This venture itself operates on a novel approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a proof to the power of following your instincts. How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."