🔗 Share this article Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more. In Enninful's view, the response has consistently been to promote culture in all its variety. 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 diverse array of prominent faces from music. "People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a groundbreaking 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 lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider." Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed battles with depression and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has propelled him away from the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time. "The establishment didn't always shine a light on the right artists because they lacked the expected background," he observes. This venture itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more. In Enninful's view, the response has consistently been to promote culture in all its variety. 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 diverse array of prominent faces from music. "People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a groundbreaking 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 lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider." Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed battles with depression and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has propelled him away from the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time. "The establishment didn't always shine a light on the right artists because they lacked the expected background," he observes. This venture itself functions with a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."