🔗 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 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy." While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "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 Cultural Backslide This shift is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political personality stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the response has long been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from music. "Those in a position of influence should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would define a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said 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." In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including openly discussed periods of mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time. "The establishment didn't always celebrate the right artists because they lacked the expected background," he comments. This venture itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Now, Enninful operates as one of the world's most respected cultural influencers. His journey, he believes, is a testament to the power of defying expectations. What would the Edward of the 90s make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach." He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy." While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "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 Cultural Backslide This shift is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political personality stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the response has long been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from music. "Those in a position of influence should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would define a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said 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." In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including openly discussed periods of mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time. "The establishment didn't always celebrate the right artists because they lacked the expected background," he comments. This venture itself functions with a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Now, Enninful operates as one of the world's most respected cultural influencers. His journey, he believes, is a testament to the power of defying expectations. What would the Edward of the 90s make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach." He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."