🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, now a different political figure stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. 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 influential figures from art. "Individuals with a platform should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will end." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was." Those early experiences would shape a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew. "When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His life has included its share of adversity, including publicly shared battles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured 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 live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has led him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "The establishment often failed to promote the truly innovative creators because they did not have the expected background," he states. This project itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of defying expectations. What would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, now a different political figure stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. 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 influential figures from art. "Individuals with a platform should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will end." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was." Those early experiences would shape a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew. "When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His life has included its share of adversity, including publicly shared battles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured 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 live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has led him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "The establishment often failed to promote the truly innovative creators because they did not have the expected background," he states. This project itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of defying expectations. What would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."