🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again. In Enninful's view, the antidote has consistently been to champion 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 celebration of modern Britain, showcasing a diverse array of cultural icons from music. "Individuals with a platform should use it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will pass." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased. "To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has involved hardship, including well-documented struggles with depression and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This refusal to fit into a box has led him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time. "Institutions often failed to celebrate the right artists because they lacked the expected background," he observes. This project itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts. How would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again. In Enninful's view, the antidote has consistently been to champion 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 celebration of modern Britain, showcasing a diverse array of cultural icons from music. "Individuals with a platform should use it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will pass." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased. "To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has involved hardship, including well-documented struggles with depression and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This refusal to fit into a box has led him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time. "Institutions often failed to celebrate the right artists because they lacked the expected background," he observes. This project itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts. How would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."