🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a different political personality looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more. According to Enninful, the response has long been to promote 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 portrait of modern Britain, featuring a wide range of cultural icons from art. "Those in a position of influence should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade." The Younger Generation's Awareness He draws solace in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would define a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds." In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including publicly shared battles with mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be defined narrowly has led him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time. "Galleries sometimes neglected to promote the right artists because they did not have the traditional credentials," he states. This venture itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Now, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of pursuing your passions. What would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a different political personality looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more. According to Enninful, the response has long been to promote 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 portrait of modern Britain, featuring a wide range of cultural icons from art. "Those in a position of influence should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade." The Younger Generation's Awareness He draws solace in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would define a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds." In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including publicly shared battles with mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be defined narrowly has led him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time. "Galleries sometimes neglected to promote the right artists because they did not have the traditional credentials," he states. This venture itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Now, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of pursuing your passions. What would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."