🔗 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 on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political personality stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol. According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from art. "Those in a position of influence should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass." A New Wave of Consciousness He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was." His formative years would shape a groundbreaking career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to adversity, including openly discussed battles with depression and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be typecast has propelled him away from the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time. "Galleries often failed to promote the right artists because they weren't of the traditional credentials," he observes. The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Now, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of following your instincts. What would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political personality stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol. According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from art. "Those in a position of influence should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass." A New Wave of Consciousness He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was." His formative years would shape a groundbreaking career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to adversity, including openly discussed battles with depression and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be typecast has propelled him away from the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time. "Galleries often failed to promote the right artists because they weren't of the traditional credentials," he observes. The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Now, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of following your instincts. What would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."