🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Perceived Regression This change is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political force stands as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from art. "Individuals with a platform should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will end." Hope in the Next Generation He draws solace in the youth of today: "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 shape a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds." Contrary 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 hardship, including publicly shared struggles with depression and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, 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 refusal to be typecast has led him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time. "Galleries sometimes neglected to promote the right artists because they weren't of the traditional credentials," he states. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of pursuing your passions. How would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Perceived Regression This change is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political force stands as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from art. "Individuals with a platform should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will end." Hope in the Next Generation He draws solace in the youth of today: "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 shape a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds." Contrary 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 hardship, including publicly shared struggles with depression and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, 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 refusal to be typecast has led him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time. "Galleries sometimes neglected to promote the right artists because they weren't of the traditional credentials," he states. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of pursuing your passions. How would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."