🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This shift is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the response has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from music. "Individuals with a platform should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass." A New Wave of Consciousness He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including openly discussed periods of depression and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be defined narrowly has inspired him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he comments. This venture itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations. How would the Edward of the 90s 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 necessarily for me." He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This shift is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the response has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from music. "Individuals with a platform should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass." A New Wave of Consciousness He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including openly discussed periods of depression and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be defined narrowly has inspired him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he comments. This venture itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations. How would the Edward of the 90s 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 necessarily for me." He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."