🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from art. "Those in a position of influence should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will fade." The Younger Generation's Awareness He draws solace in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. Beyond the Magazine World He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has involved hardship, including openly discussed periods of depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be typecast has propelled him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "The establishment often failed to celebrate the right artists because they did not have the traditional credentials," he comments. This project itself functions with a novel approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of following your instincts. How would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from art. "Those in a position of influence should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will fade." The Younger Generation's Awareness He draws solace in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. Beyond the Magazine World He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has involved hardship, including openly discussed periods of depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be typecast has propelled him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "The establishment often failed to celebrate the right artists because they did not have the traditional credentials," he comments. This project itself functions with a novel approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of following your instincts. How would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."