🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "It was the peak 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 socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Perceived Regression This shift is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, now a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of national pride, 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 driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from politics. "Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this period will end." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was." Those early experiences would shape a pioneering career built on boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales rose. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved adversity, including openly discussed periods of mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has inspired him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "The establishment often failed to promote the truly innovative creators because they weren't of the expected background," he states. This project itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he believes, is a demonstration to the power of defying expectations. What would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "It was the peak 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 socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Perceived Regression This shift is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, now a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of national pride, 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 driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from politics. "Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this period will end." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was." Those early experiences would shape a pioneering career built on boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales rose. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved adversity, including openly discussed periods of mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has inspired him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "The establishment often failed to promote the truly innovative creators because they weren't of the expected background," he states. This project itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he believes, is a demonstration to the power of defying expectations. What would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."