🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the rise of populist movements, the reaction against progressive values, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from politics. "Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was." His formative years would forge a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including openly discussed battles with depression and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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 be defined narrowly has led him away from the world that built his career. He is now putting together 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 explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time. "Galleries didn't always promote the right artists because they lacked the traditional credentials," he observes. This venture itself functions with a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision." A Testament to Resilience Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a proof to the power of defying expectations. How would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. 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 chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the rise of populist movements, the reaction against progressive values, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from politics. "Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was." His formative years would forge a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including openly discussed battles with depression and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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 be defined narrowly has led him away from the world that built his career. He is now putting together 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 explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time. "Galleries didn't always promote the right artists because they lacked the traditional credentials," he observes. This venture itself functions with a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision." A Testament to Resilience Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a proof to the power of defying expectations. How would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. 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."