🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, 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 felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again. According to Enninful, the antidote has long been to promote 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 portrait of modern Britain, showcasing a broad spectrum of prominent faces from literature. "Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass." The Younger Generation's Awareness He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would shape a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. 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 former post. He states his aim to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider." Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including openly discussed battles with mental health and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has inspired him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time. "Galleries often failed to promote the most relevant talents because they did not have the expected background," he comments. This venture itself operates on a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of following your instincts. How would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, 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 I am unstoppable once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, 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 felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again. According to Enninful, the antidote has long been to promote 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 portrait of modern Britain, showcasing a broad spectrum of prominent faces from literature. "Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass." The Younger Generation's Awareness He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would shape a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. 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 former post. He states his aim to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider." Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including openly discussed battles with mental health and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has inspired him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time. "Galleries often failed to promote the most relevant talents because they did not have the expected background," he comments. This venture itself operates on a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of following your instincts. How would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, 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 I am unstoppable once I’ve set my intention to do something."