🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This shift is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again. For Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from music. "Individuals with a platform should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will fade." The Younger Generation's Awareness He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was." Those early experiences would forge a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales grew. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. 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 found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider." Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including publicly shared periods of depression and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to fit into a box has led him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "Galleries often failed to celebrate the right artists because they lacked the expected background," he states. This venture itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. At that time 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 were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This shift is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again. For Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from music. "Individuals with a platform should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will fade." The Younger Generation's Awareness He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was." Those early experiences would forge a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales grew. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. 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 found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider." Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including publicly shared periods of depression and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to fit into a box has led him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "Galleries often failed to celebrate the right artists because they lacked the expected background," he states. This venture itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. At that time 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 were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."