🔗 Share this article Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the response has long been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature. "Those in a position of influence should wield it," he comments, explaining 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 refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass." A New Wave of Consciousness He finds hope in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was." The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers 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 diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to 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 harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider." Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including publicly shared battles with mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be typecast has led him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time. "The establishment often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he states. The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of defying expectations. How would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the response has long been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature. "Those in a position of influence should wield it," he comments, explaining 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 refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass." A New Wave of Consciousness He finds hope in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was." The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers 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 diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to 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 harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider." Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including publicly shared battles with mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be typecast has led him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time. "The establishment often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he states. The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of defying expectations. How would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."