🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, today a different political figure appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more. In Enninful's view, the solution has consistently 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 celebration of modern Britain, featuring a diverse array of influential figures from music. "Those in a position of influence should wield it," he says, explaining 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 did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will pass." A New Wave of Consciousness He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was." The beginnings of his career would define a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider." Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has not been immune to challenges, including openly discussed battles with depression and addiction. He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be defined narrowly has propelled him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time. "The establishment often failed to promote the most relevant talents because they did not have the expected background," he states. This project itself functions with a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of defying expectations. How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, today a different political figure appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more. In Enninful's view, the solution has consistently 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 celebration of modern Britain, featuring a diverse array of influential figures from music. "Those in a position of influence should wield it," he says, explaining 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 did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will pass." A New Wave of Consciousness He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was." The beginnings of his career would define a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider." Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has not been immune to challenges, including openly discussed battles with depression and addiction. He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be defined narrowly has propelled him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time. "The establishment often failed to promote the most relevant talents because they did not have the expected background," he states. This project itself functions with a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of defying expectations. How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."