🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the peak of the Britart scene – 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 mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, now a different political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from art. "Individuals with a platform should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this phase will fade." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." His formative years would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent 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 leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside." In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His life has included its share of hardship, including openly discussed periods of depression and substance use. He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he states. This project itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions. What would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the peak of the Britart scene – 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 mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, now a different political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from art. "Individuals with a platform should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this phase will fade." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." His formative years would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent 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 leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside." In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His life has included its share of hardship, including openly discussed periods of depression and substance use. He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he states. This project itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions. What would the Enninful of that era think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."