🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol. For Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature. "People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will end." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was." His formative years would forge a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker". "I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds." Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including openly discussed battles with depression and substance use. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be typecast has inspired him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states. This venture itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of defying expectations. How would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol. For Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature. "People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will end." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was." His formative years would forge a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker". "I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds." Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including openly discussed battles with depression and substance use. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be typecast has inspired him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states. This venture itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a demonstration to the power of defying expectations. How would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."