🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This change is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the previous decade, today a different political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from music. "Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will pass." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was." Those early experiences would shape a pioneering career built on fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased. "When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. Beyond the Magazine World He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His path has included its share of adversity, including well-documented struggles with mental health and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to fit into a box has propelled him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time. "Institutions didn't always promote the truly innovative creators because they did not have the traditional credentials," he states. The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, 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 is regarded as one of the world's most respected creative power brokers. His path, he states, is a proof to the power of defying expectations. How would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, 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 I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This change is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the previous decade, today a different political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from music. "Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will pass." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was." Those early experiences would shape a pioneering career built on fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased. "When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. Beyond the Magazine World He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His path has included its share of adversity, including well-documented struggles with mental health and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to fit into a box has propelled him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time. "Institutions didn't always promote the truly innovative creators because they did not have the traditional credentials," he states. The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, 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 is regarded as one of the world's most respected creative power brokers. His path, he states, is a proof to the power of defying expectations. How would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, 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 I am unstoppable once I’ve made up my mind to do something."