🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, today a more divisive political force stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again. For Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from art. "Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate 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 always loved. I believe this phase will fade." A New Wave of Consciousness He finds hope in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was." His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has involved challenges, including publicly shared battles with mental health and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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 figure in fashion." A Foray into Curation This drive to fit into a box has propelled him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time. "Galleries sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he comments. This project itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, today a more divisive political force stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again. For Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from art. "Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate 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 always loved. I believe this phase will fade." A New Wave of Consciousness He finds hope in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was." His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has involved challenges, including publicly shared battles with mental health and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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 figure in fashion." A Foray into Curation This drive to fit into a box has propelled him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time. "Galleries sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he comments. This project itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."