🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political force appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol. According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from literature. "Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given 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 draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would define a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. Beyond the Magazine World He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider." Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of adversity, including openly discussed struggles with mental health and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, 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 figure in fashion." The Tate Britain Exhibition This drive to be defined narrowly has inspired him away from the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "Institutions didn't always promote the truly innovative creators because they lacked the right pedigree," he comments. The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of defying expectations. How would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political force appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol. According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from literature. "Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given 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 draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would define a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. Beyond the Magazine World He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider." Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of adversity, including openly discussed struggles with mental health and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, 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 figure in fashion." The Tate Britain Exhibition This drive to be defined narrowly has inspired him away from the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "Institutions didn't always promote the truly innovative creators because they lacked the right pedigree," he comments. The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of defying expectations. How would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."