🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the height 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 close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." While Enninful may seem sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the Blair era, today a different political figure appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from art. "Those in a position of influence should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would forge a trailblazing career built on boldness and representation. 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 models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Launching a Creative Venture He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds." Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved challenges, including publicly shared battles with mental health and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 fashion person." Curating a Cultural Era This determination to be defined narrowly has propelled him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "Galleries often failed to shine a light on the right artists because they weren't of the traditional credentials," he comments. This project itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Today, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of defying expectations. How would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."
An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the height 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 close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." While Enninful may seem sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the Blair era, today a different political figure appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from art. "Those in a position of influence should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would forge a trailblazing career built on boldness and representation. 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 models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Launching a Creative Venture He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds." Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved challenges, including publicly shared battles with mental health and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 fashion person." Curating a Cultural Era This determination to be defined narrowly has propelled him away from the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "Galleries often failed to shine a light on the right artists because they weren't of the traditional credentials," he comments. This project itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Today, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of defying expectations. How would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."