🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, now a different political figure looms as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again. According to Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from literature. "Individuals with a platform should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this moment will fade." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of adversity, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to fit into a box has propelled him outside the world that built his career. He is now curating a significant 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 highlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he states. This project itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, 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 would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, now a different political figure looms as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again. According to Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from literature. "Individuals with a platform should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this moment will fade." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of adversity, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to fit into a box has propelled him outside the world that built his career. He is now curating a significant 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 highlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he states. This project itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, 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 would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."