🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, now a different political force stands as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol. According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from politics. "Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass." The Younger Generation's Awareness He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His life has not been immune to challenges, including openly discussed battles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has propelled him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time. "Galleries didn't always shine a light on the right artists because they did not have the expected background," he observes. The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts. How would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, now a different political force stands as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol. According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from politics. "Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass." The Younger Generation's Awareness He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His life has not been immune to challenges, including openly discussed battles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has propelled him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time. "Galleries didn't always shine a light on the right artists because they did not have the expected background," he observes. The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts. How would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."