🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Perceived Regression This change is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, currently a more divisive political figure appears as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. In Enninful's view, the response has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from music. "People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will end." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator". "I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds." Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed periods of mental health and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time. "Galleries often failed to shine a light on the most relevant talents because they lacked the right pedigree," he comments. This project itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Now, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."
An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Perceived Regression This change is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, currently a more divisive political figure appears as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. In Enninful's view, the response has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from music. "People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will end." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would forge a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator". "I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds." Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed periods of mental health and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time. "Galleries often failed to shine a light on the most relevant talents because they lacked the right pedigree," he comments. This project itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Now, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."