🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, now a different political figure stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. For Enninful, the antidote has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature. "Individuals with a platform should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will pass." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was." Those early experiences would shape a groundbreaking career built on boldness and representation. 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 time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider." Defying the popular image of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of hardship, including well-documented struggles with depression and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he comments. The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he believes, is a testament to the power of defying expectations. What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. 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 whole career. But nothing can stop me once I’ve decided to do something."
A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, now a different political figure stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. For Enninful, the antidote has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature. "Individuals with a platform should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will pass." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was." Those early experiences would shape a groundbreaking career built on boldness and representation. 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 time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider." Defying the popular image of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of hardship, including well-documented struggles with depression and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he comments. The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he believes, is a testament to the power of defying expectations. What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. 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 whole career. But nothing can stop me once I’ve decided to do something."