🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political personality stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from literature. "Individuals with a platform should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this moment will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." Those early experiences would shape a pioneering career characterised by fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including publicly shared periods of depression and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has propelled him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to promote the most relevant talents because they weren't of the expected background," he comments. This project itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of pursuing your passions. What would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political personality stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from literature. "Individuals with a platform should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this moment will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." Those early experiences would shape a pioneering career characterised by fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including publicly shared periods of depression and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has propelled him beyond the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to promote the most relevant talents because they weren't of the expected background," he comments. This project itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of pursuing your passions. What would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."