🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This regression is difficult to overlook: the rise of nationalist groups, the backlash against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from art. "Individuals with a platform should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was." Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has since founded his creative company 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 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, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including well-documented battles with depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time. "Galleries sometimes neglected to promote the right artists because they did not have the traditional credentials," he comments. This venture itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Now, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of pursuing your passions. What would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable 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 arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This regression is difficult to overlook: the rise of nationalist groups, the backlash against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from art. "Individuals with a platform should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was." Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has since founded his creative company 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 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, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including well-documented battles with depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time. "Galleries sometimes neglected to promote the right artists because they did not have the traditional credentials," he comments. This venture itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Now, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of pursuing your passions. What would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."