🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the late 90s, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again. For Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from literature. "People with a voice should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this period will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was." Those early experiences would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to 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 harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider." Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including openly discussed battles with mental health and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious 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 is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time. "The establishment often failed to shine a light on the right artists because they did not have the expected background," he states. This venture itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations. How would the Edward of the 90s think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is increasingly evident: the resurgence of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the late 90s, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again. For Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from literature. "People with a voice should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this period will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was." Those early experiences would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to 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 harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider." Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including openly discussed battles with mental health and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious 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 is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time. "The establishment often failed to shine a light on the right artists because they did not have the expected background," he states. This venture itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations. How would the Edward of the 90s think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."