🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy." If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful feels 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 Perceived Regression This regression is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political force looms as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again. For Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force 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 literature. "People with a voice should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will fade." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." Those early experiences would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Launching a Creative Venture He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including openly discussed periods of mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to be typecast has inspired him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "The establishment sometimes neglected to promote the right artists because they did not have the traditional credentials," he states. This venture itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of following your instincts. How would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy." If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful feels 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 Perceived Regression This regression is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political force looms as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again. For Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force 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 literature. "People with a voice should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will fade." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." Those early experiences would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Launching a Creative Venture He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including openly discussed periods of mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to be typecast has inspired him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "The establishment sometimes neglected to promote the right artists because they did not have the traditional credentials," he states. This venture itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of following your instincts. How would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."