🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. For Enninful, the solution has consistently been to celebrate 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 snapshot of modern Britain, showcasing a diverse array of prominent faces from literature. "Individuals with a platform should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will end." Hope in the Next Generation He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose. "Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including well-documented battles with mental health and addiction. He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be typecast has propelled him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time. "The establishment sometimes neglected to promote the most relevant talents because they weren't of the right pedigree," he comments. This venture itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem." A Testament to Resilience Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of defying expectations. How would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. For Enninful, the solution has consistently been to celebrate 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 snapshot of modern Britain, showcasing a diverse array of prominent faces from literature. "Individuals with a platform should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will end." Hope in the Next Generation He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose. "Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including well-documented battles with mental health and addiction. He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be typecast has propelled him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time. "The establishment sometimes neglected to promote the most relevant talents because they weren't of the right pedigree," he comments. This venture itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem." A Testament to Resilience Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of defying expectations. How would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."