🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This regression is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, now a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the antidote has long been to champion culture in all its multifaceted forms. 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 diverse array of prominent faces from politics. "Those in a position of influence should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." His formative years would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside." Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including well-documented battles with mental health and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to fit into a box has led him away from the industry that made his name. 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 explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he comments. The magazine 72 itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of defying expectations. What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. 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 decided to do something."
An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This regression is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, now a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the antidote has long been to champion culture in all its multifaceted forms. 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 diverse array of prominent faces from politics. "Those in a position of influence should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." His formative years would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside." Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including well-documented battles with mental health and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to fit into a box has led him away from the industry that made his name. 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 explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he comments. The magazine 72 itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of defying expectations. What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. 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 decided to do something."