🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, now a different political personality looms as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from music. "People with a voice should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." Those early experiences would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased. "To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to adversity, including well-documented struggles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, anxious 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 passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be typecast has propelled him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time. "The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he comments. This project itself uses a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of defying expectations. How would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears wistful, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, now a different political personality looms as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from music. "People with a voice should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." Those early experiences would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased. "To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to adversity, including well-documented struggles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, anxious 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 passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be typecast has propelled him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time. "The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he comments. This project itself uses a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of defying expectations. How would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."