🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. In Enninful's view, the antidote has long been to promote 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 snapshot of modern Britain, including a broad spectrum of prominent faces from politics. "Those in a position of influence should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will pass." A New Wave of Consciousness He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was." The beginnings of his career would define a pioneering career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside." In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His life has involved hardship, including well-documented battles with depression and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has led him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he comments. The magazine 72 itself uses a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. In Enninful's view, the antidote has long been to promote 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 snapshot of modern Britain, including a broad spectrum of prominent faces from politics. "Those in a position of influence should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will pass." A New Wave of Consciousness He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was." The beginnings of his career would define a pioneering career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside." In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His life has involved hardship, including well-documented battles with depression and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has led him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he comments. The magazine 72 itself uses a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."