🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." While Enninful may seem nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. According to Enninful, the response has long been to promote culture in all its diversity. 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 wide range of influential figures from literature. "Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was." The beginnings of his career would shape a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. Launching a Creative Venture He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. 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." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed battles with mental health and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, anxious 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 do everything 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 fit into a box has inspired him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time. "Galleries often failed to celebrate the right artists because they weren't of the right pedigree," he comments. This venture itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of defying expectations. How would the Edward of the 90s react to the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." While Enninful may seem nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. According to Enninful, the response has long been to promote culture in all its diversity. 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 wide range of influential figures from literature. "Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was." The beginnings of his career would shape a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. Launching a Creative Venture He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. 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." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed battles with mental health and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, anxious 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 do everything 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 fit into a box has inspired him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time. "Galleries often failed to celebrate the right artists because they weren't of the right pedigree," he comments. This venture itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of defying expectations. How would the Edward of the 90s react to the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."