🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the rise of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political figure stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from literature. "Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will end." Hope in the Next Generation He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." His formative years would define a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises. Launching a Creative Venture He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved adversity, including openly discussed periods of depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has inspired him beyond the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he comments. This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of following your instincts. What would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."
A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the rise of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political figure stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from literature. "Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will end." Hope in the Next Generation He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." His formative years would define a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises. Launching a Creative Venture He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved adversity, including openly discussed periods of depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has inspired him beyond the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he comments. This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of following your instincts. What would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."