🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This regression is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from literature. "People with a voice should employ it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew. "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 established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, 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 suspicion laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to challenges, including publicly shared struggles with mental health and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has inspired him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "Galleries didn't always promote the truly innovative creators because they did not have the traditional credentials," he states. This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions. What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This regression is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from literature. "People with a voice should employ it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew. "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 established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, 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 suspicion laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to challenges, including publicly shared struggles with mental health and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has inspired him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "Galleries didn't always promote the truly innovative creators because they did not have the traditional credentials," he states. This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions. What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."