🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "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 wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." Shifting Attitudes This shift is difficult to overlook: the rise of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, today a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art. "Those in a position of influence should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will end." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was." Those early experiences would define a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales rose. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider." Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him outside the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time. "The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he observes. The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach 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 influential creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "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 wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." Shifting Attitudes This shift is difficult to overlook: the rise of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, today a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art. "Those in a position of influence should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will end." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was." Those early experiences would define a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales rose. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider." Defying the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him outside the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time. "The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he observes. The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach 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 influential creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."