🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This regression is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure stands as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. For Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from music. "Individuals with a platform should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass." Hope in the Next Generation He finds hope in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was." The beginnings of his career would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside." Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has included its share of challenges, including openly discussed battles with mental health and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable 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 scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential 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 weren't given adequate attention at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he comments. The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of defying expectations. How would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach." He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This regression is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure stands as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. For Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from music. "Individuals with a platform should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass." Hope in the Next Generation He finds hope in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was." The beginnings of his career would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside." Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has included its share of challenges, including openly discussed battles with mental health and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable 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 scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential 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 weren't given adequate attention at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he comments. The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of defying expectations. How would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach." He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."