🔗 Share this article Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. In Enninful's view, the solution has long been to celebrate 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 snapshot of modern Britain, showcasing a wide range of prominent faces from literature. "People with a voice should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will fade." A New Wave of Consciousness He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, 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 all walks of life. Critically, sales grew. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His path has involved challenges, including openly discussed periods of depression and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, 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 figure in fashion." The Tate Britain Exhibition This determination to fit into a box has inspired him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Institutions sometimes neglected to promote the right artists because they did not have the expected background," he observes. This venture itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of following your instincts. How would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. In Enninful's view, the solution has long been to celebrate 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 snapshot of modern Britain, showcasing a wide range of prominent faces from literature. "People with a voice should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will fade." A New Wave of Consciousness He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, 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 all walks of life. Critically, sales grew. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His path has involved challenges, including openly discussed periods of depression and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, 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 figure in fashion." The Tate Britain Exhibition This determination to fit into a box has inspired him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Institutions sometimes neglected to promote the right artists because they did not have the expected background," he observes. This venture itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of following your instincts. How would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."