🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "It was the zenith of the YBA movement – 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 close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." A Perceived Regression This change is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol. According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from literature. "People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would forge a pioneering career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including openly discussed periods of mental health and substance use. He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be typecast has propelled him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "Galleries often failed to promote the truly innovative creators because they lacked the traditional credentials," he comments. This project itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts. What would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "It was the zenith of the YBA movement – 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 close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." A Perceived Regression This change is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol. According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from literature. "People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would forge a pioneering career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including openly discussed periods of mental health and substance use. He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be typecast has propelled him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "Galleries often failed to promote the truly innovative creators because they lacked the traditional credentials," he comments. This project itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts. What would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."