🔗 Share this article Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from music. "Those in a position of influence should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end." The Younger Generation's Awareness He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside." Defying the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to hardship, including well-documented struggles with depression and addiction. He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to fit into a box has inspired him outside the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time. "Institutions often failed to shine a light on the most relevant talents because they did not have the right pedigree," he observes. The magazine 72 itself operates on a different approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of defying expectations. What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from music. "Those in a position of influence should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end." The Younger Generation's Awareness He draws solace in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside." Defying the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to hardship, including well-documented struggles with depression and addiction. He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to fit into a box has inspired him outside the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time. "Institutions often failed to shine a light on the most relevant talents because they did not have the right pedigree," he observes. The magazine 72 itself operates on a different approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of defying expectations. What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."