🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Perceived Regression This shift is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a different political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. According to Enninful, the response has always been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music. "Individuals with a platform should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end." The Younger Generation's Awareness He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." The beginnings of his career would shape a pioneering career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "When you ignore large portions 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 flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds." Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including openly discussed periods of depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has led him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he states. This project itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? 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 creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost 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."
An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Perceived Regression This shift is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a different political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. According to Enninful, the response has always been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music. "Individuals with a platform should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end." The Younger Generation's Awareness He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." The beginnings of his career would shape a pioneering career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "When you ignore large portions 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 flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds." Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including openly discussed periods of depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has led him outside the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he states. This project itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? 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 creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost 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."