🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is hard to ignore: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from politics. "Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." His formative years would forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has involved adversity, including publicly shared periods of mental health and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, terrified 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 ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has propelled him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "The establishment sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he observes. The magazine 72 itself operates on a unique business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a testament to the power of defying expectations. What would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is hard to ignore: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from politics. "Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." His formative years would forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has involved adversity, including publicly shared periods of mental health and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, terrified 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 ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has propelled him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "The establishment sometimes neglected to celebrate the right artists because they weren't of the right pedigree," he observes. The magazine 72 itself operates on a unique business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a testament to the power of defying expectations. What would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."