🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This change is difficult to overlook: the rise of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again. For Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics. "People with a voice should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this moment will end." A New Wave of Consciousness He draws solace in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would shape a pioneering career marked by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Launching a Creative Venture He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including openly discussed struggles with depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "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 live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all 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 determination to fit into a box has led him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "Institutions didn't always promote the right artists because they lacked the traditional credentials," he comments. This venture itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions. What would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."
A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This change is difficult to overlook: the rise of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again. For Enninful, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics. "People with a voice should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this moment will end." A New Wave of Consciousness He draws solace in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would shape a pioneering career marked by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Launching a Creative Venture He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including openly discussed struggles with depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "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 live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all 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 determination to fit into a box has led him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "Institutions didn't always promote the right artists because they lacked the traditional credentials," he comments. This venture itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions. What would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."