🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again. For Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music. "Those in a position of influence should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass." The Younger Generation's Awareness He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was." The beginnings of his career would define a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose. "Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, 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 Sus laws … those experiences gave me a sense of being between worlds." Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved hardship, including publicly shared periods of depression and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be defined narrowly has led him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time. "The establishment often failed to celebrate the most relevant talents because they did not have the expected background," he states. The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of defying expectations. What would the younger Edward make of the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again. For Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music. "Those in a position of influence should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass." The Younger Generation's Awareness He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was." The beginnings of his career would define a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose. "Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, 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 Sus laws … those experiences gave me a sense of being between worlds." Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved hardship, including publicly shared periods of depression and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be defined narrowly has led him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time. "The establishment often failed to celebrate the most relevant talents because they did not have the expected background," he states. The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of defying expectations. What would the younger Edward make of the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."