🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s. An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the rise of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, now a different political force stands as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more. In Enninful's view, the response has consistently been to promote 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 snapshot of modern Britain, featuring a wide range of influential figures from literature. "Those in a position of influence should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade." Hope in the Next Generation He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would define a trailblazing career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew. "Ignoring 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 agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside." In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including publicly shared battles with depression and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid 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 propelled him away from the world that made his name. He is now organising a major 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 artistic collaboration – and spotlight those who lacked adequate attention at the time. "Institutions didn't always celebrate the truly innovative creators because they weren't of the expected background," he comments. This project itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of following your instincts. How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "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 counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the rise of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, now a different political force stands as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more. In Enninful's view, the response has consistently been to promote 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 snapshot of modern Britain, featuring a wide range of influential figures from literature. "Those in a position of influence should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade." Hope in the Next Generation He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would define a trailblazing career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew. "Ignoring 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 agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside." In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including publicly shared battles with depression and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid 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 propelled him away from the world that made his name. He is now organising a major 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 artistic collaboration – and spotlight those who lacked adequate attention at the time. "Institutions didn't always celebrate the truly innovative creators because they weren't of the expected background," he comments. This project itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of following your instincts. How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "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 counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."