🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol. For Enninful, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from literature. "People with a voice should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will pass." Hope in the Next Generation He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." The beginnings of his career would forge a pioneering career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased. "To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has propelled him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time. "The establishment often failed to celebrate the right artists because they lacked the expected background," he observes. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of pursuing your passions. What would the Enninful of that era think of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is difficult to overlook: the rise of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol. For Enninful, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from literature. "People with a voice should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will pass." Hope in the Next Generation He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." The beginnings of his career would forge a pioneering career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased. "To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has propelled him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time. "The establishment often failed to celebrate the right artists because they lacked the expected background," he observes. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of pursuing your passions. What would the Enninful of that era think of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."