🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This regression is hard to ignore: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political personality appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. According to Enninful, the solution has always been to promote 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 snapshot of modern Britain, showcasing a diverse array of cultural icons from politics. "People with a voice should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this period will fade." Hope in the Next Generation He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would shape a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including openly discussed periods of mental health and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time. "The establishment sometimes neglected to celebrate the right artists because they lacked the expected background," he observes. This project itself functions with a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Today, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a proof to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This regression is hard to ignore: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political personality appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. According to Enninful, the solution has always been to promote 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 snapshot of modern Britain, showcasing a diverse array of cultural icons from politics. "People with a voice should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this period will fade." Hope in the Next Generation He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would shape a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including openly discussed periods of mental health and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time. "The establishment sometimes neglected to celebrate the right artists because they lacked the expected background," he observes. This project itself functions with a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Today, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a proof to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."