🔗 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 path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." If Enninful sounds sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This shift is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, today a different political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music. "People with a voice should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will fade." The Younger Generation's Awareness He finds hope in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was." His formative years would define a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent 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 landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider." Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved adversity, including openly discussed periods of mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal 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, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time. "The establishment didn't always shine a light on the most relevant talents because they lacked the expected background," he observes. This venture itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of defying expectations. How would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." If Enninful sounds sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This shift is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, today a different political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music. "People with a voice should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will fade." The Younger Generation's Awareness He finds hope in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was." His formative years would define a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent 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 landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider." Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved adversity, including openly discussed periods of mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal 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, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time. "The establishment didn't always shine a light on the most relevant talents because they lacked the expected background," he observes. This venture itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of defying expectations. How would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."