🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Cultural Backslide This change is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more. According to Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from literature. "People with a voice should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this period will fade." The Younger Generation's Awareness He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was." The beginnings of his career would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has involved challenges, including openly discussed battles with mental health and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to fit into a box has inspired him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time. "Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he observes. The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of pursuing your passions. What would the younger Edward make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Cultural Backslide This change is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more. According to Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from literature. "People with a voice should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this period will fade." The Younger Generation's Awareness He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was." The beginnings of his career would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has involved challenges, including openly discussed battles with mental health and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to fit into a box has inspired him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time. "Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he observes. The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of pursuing your passions. What would the younger Edward make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."