🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Cultural Backslide This change is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political figure looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more. In Enninful's view, the response has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from literature. "Those in a position of influence should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would forge a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants 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 doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented battles with depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful 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 be typecast has inspired him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "Institutions sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he states. This venture itself functions with 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 series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of pursuing your passions. How would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Cultural Backslide This change is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political figure looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more. In Enninful's view, the response has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from literature. "Those in a position of influence should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would forge a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants 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 doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented battles with depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful 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 be typecast has inspired him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "Institutions sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he states. This venture itself functions with 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 series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of pursuing your passions. How would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."