🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, now a different political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again. For Enninful, the antidote has always been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from politics. "Individuals with a platform should use it," he asserts, referring to those editorial decisions. "There is much discussion 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 opportunity. That’s the Britain I believed in. I believe this moment will pass." A New Wave of Consciousness He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was." His formative years would shape a trailblazing career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including openly discussed battles with mental health and substance use. He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has led him away from the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time. "Galleries often failed to celebrate the right artists because they lacked the right pedigree," he states. The magazine 72 itself uses a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, now a different political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again. For Enninful, the antidote has always been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from politics. "Individuals with a platform should use it," he asserts, referring to those editorial decisions. "There is much discussion 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 opportunity. That’s the Britain I believed in. I believe this moment will pass." A New Wave of Consciousness He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was." His formative years would shape a trailblazing career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including openly discussed battles with mental health and substance use. He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has led him away from the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time. "Galleries often failed to celebrate the right artists because they lacked the right pedigree," he states. The magazine 72 itself uses a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."