🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Cultural Backslide This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality stands as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature. "People with a voice should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds." In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His journey has involved hardship, including well-documented struggles with mental health and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to fit into a box has inspired him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments. This project itself operates on 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 a piece within a broader vision." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of following your instincts. How would the Enninful of that era react to 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 never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Cultural Backslide This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality stands as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature. "People with a voice should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds." In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His journey has involved hardship, including well-documented struggles with mental health and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to fit into a box has inspired him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments. This project itself operates on 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 a piece within a broader vision." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of following your instincts. How would the Enninful of that era react to 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 never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."