🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. 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 mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. According to Enninful, the response has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from art. "People with a voice should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position 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 cherished. I believe this period will pass." Hope in the Next Generation He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was." Those early experiences would define a groundbreaking career characterised by 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 take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises. Launching a Creative Venture He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor". "My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has involved adversity, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to fit into a box has inspired him outside the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time. "Institutions sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes. This venture itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach." He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. 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 mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. According to Enninful, the response has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from art. "People with a voice should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position 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 cherished. I believe this period will pass." Hope in the Next Generation He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was." Those early experiences would define a groundbreaking career characterised by 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 take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises. Launching a Creative Venture He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor". "My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has involved adversity, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to fit into a box has inspired him outside the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time. "Institutions sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes. This venture itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach." He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."