🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s. A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol. In Enninful's view, the antidote has always 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, showcasing a wide range of influential figures from music. "Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade." A New Wave of Consciousness He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was." Those early experiences would define a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, 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, older individuals, and individuals from all walks of life. Critically, sales increased. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Launching a Creative Venture He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds." Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has involved hardship, including publicly shared periods of mental health and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful 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 be typecast has propelled him outside the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring 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 spotlight those who lacked due recognition at the time. "The establishment didn't always promote the most relevant talents because they weren't of the right pedigree," he comments. The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of defying expectations. How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol. In Enninful's view, the antidote has always 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, showcasing a wide range of influential figures from music. "Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade." A New Wave of Consciousness He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was." Those early experiences would define a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, 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, older individuals, and individuals from all walks of life. Critically, sales increased. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Launching a Creative Venture He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds." Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has involved hardship, including publicly shared periods of mental health and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful 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 be typecast has propelled him outside the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring 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 spotlight those who lacked due recognition at the time. "The establishment didn't always promote the most relevant talents because they weren't of the right pedigree," he comments. The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of defying expectations. How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."