🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. 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 rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Perceived Regression This change is hard to ignore: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the previous decade, now a different political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art. "People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. 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 unique perspective between worlds." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to hardship, including well-documented battles with mental health and substance use. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has inspired him away from the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment often failed to shine a light on the right artists because they weren't of the traditional credentials," he comments. The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of defying expectations. How would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention 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 rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Perceived Regression This change is hard to ignore: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the previous decade, now a different political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art. "People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. 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 unique perspective between worlds." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to hardship, including well-documented battles with mental health and substance use. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has inspired him away from the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment often failed to shine a light on the right artists because they weren't of the traditional credentials," he comments. The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of defying expectations. How would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."