🔗 Share this article The fashion icon Edward Enninful discusses 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 teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This regression is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the response has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." Those early experiences would shape a pioneering career marked by fearlessness 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 tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose. "To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to hardship, including well-documented battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful 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 outside the industry that made his name. 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 interdisciplinary energy – and highlight those who lacked a spotlight at the time. "Galleries often failed to promote the most relevant talents because they did not have the expected background," he comments. This project itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a broader vision." An Unstoppable Drive Today, Enninful operates as one of the world's most respected creative power brokers. His path, he believes, is a testament to the power of defying expectations. How would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This regression is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the response has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." Those early experiences would shape a pioneering career marked by fearlessness 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 tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose. "To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to hardship, including well-documented battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful 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 outside the industry that made his name. 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 interdisciplinary energy – and highlight those who lacked a spotlight at the time. "Galleries often failed to promote the most relevant talents because they did not have the expected background," he comments. This project itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a broader vision." An Unstoppable Drive Today, Enninful operates as one of the world's most respected creative power brokers. His path, he believes, is a testament to the power of defying expectations. How would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."