🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again. According to Enninful, the response has long been to champion culture in all its diversity. 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 influential figures from art. "Those in a position of influence should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will pass." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." His formative years would shape a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator". "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 president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside." In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of adversity, including publicly shared struggles with depression and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be typecast has inspired him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "Galleries often failed to shine a light on the truly innovative creators because they did not have the right pedigree," he observes. This project itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again. According to Enninful, the response has long been to champion culture in all its diversity. 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 influential figures from art. "Those in a position of influence should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will pass." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." His formative years would shape a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator". "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 president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside." In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of adversity, including publicly shared struggles with depression and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be typecast has inspired him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "Galleries often failed to shine a light on the truly innovative creators because they did not have the right pedigree," he observes. This project itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."