🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s. A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political force appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again. According to Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from art. "Those in a position of influence should employ it," he says, referring to those editorial decisions. "Everyone talks 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 cherished. I trust this period will pass." A New Wave of Consciousness He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was." His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved adversity, including well-documented battles with mental health and addiction. He has also endured significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all 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 determination to fit into a box has led him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time. "Institutions often failed to shine a light on the right artists because they lacked the traditional credentials," he states. The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions. How would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think 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 almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political force appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again. According to Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from art. "Those in a position of influence should employ it," he says, referring to those editorial decisions. "Everyone talks 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 cherished. I trust this period will pass." A New Wave of Consciousness He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was." His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved adversity, including well-documented battles with mental health and addiction. He has also endured significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all 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 determination to fit into a box has led him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time. "Institutions often failed to shine a light on the right artists because they lacked the traditional credentials," he states. The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions. How would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think 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 almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."