🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, currently a different political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from politics. "Individuals with a platform should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including openly discussed battles with depression and addiction. He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, terrified 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 confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to be typecast has inspired him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "The establishment often failed to shine a light on the right artists because they lacked the expected background," he states. The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts. What would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach." He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, currently a different political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from politics. "Individuals with a platform should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including openly discussed battles with depression and addiction. He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, terrified 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 confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to be typecast has inspired him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "The establishment often failed to shine a light on the right artists because they lacked the expected background," he states. The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts. What would the Edward of the 90s make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach." He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."