🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This regression is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. For Enninful, the antidote has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from literature. "Individuals with a platform should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this phase will end." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was." Those early experiences would shape a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales grew. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His path has included its share of challenges, including publicly shared struggles with depression and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has led him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time. "Galleries sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he comments. This project itself uses a novel approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform." Looking Forward Without Fear Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of following your instincts. What would the Enninful of that era react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This regression is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. For Enninful, the antidote has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from literature. "Individuals with a platform should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this phase will end." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was." Those early experiences would shape a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales grew. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His path has included its share of challenges, including publicly shared struggles with depression and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has led him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time. "Galleries sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he comments. This project itself uses a novel approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform." Looking Forward Without Fear Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of following your instincts. What would the Enninful of that era react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."