🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Cultural Backslide This change is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political force looms as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again. For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from art. "People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this period will end." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has involved adversity, including well-documented battles with depression and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This determination to fit into a box has led him away from the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who lacked due recognition at the time. "The establishment didn't always shine a light on the most relevant talents because they weren't of the expected background," he states. This project itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of defying expectations. What would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Cultural Backslide This change is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political force looms as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again. For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from art. "People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this period will end." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has involved adversity, including well-documented battles with depression and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This determination to fit into a box has led him away from the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who lacked due recognition at the time. "The establishment didn't always shine a light on the most relevant talents because they weren't of the expected background," he states. This project itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of defying expectations. What would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."