🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell 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 far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from literature. "Those in a position of influence should use it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was." His formative years would shape a pioneering career built on boldness and representation. Enninful made history 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 time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including openly discussed battles with depression and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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." A Foray into Curation This determination to be defined narrowly has inspired him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time. "Galleries often failed to celebrate the right artists because they lacked the right pedigree," he observes. The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell 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 far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from literature. "Those in a position of influence should use it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was." His formative years would shape a pioneering career built on boldness and representation. Enninful made history 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 time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including openly discussed battles with depression and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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." A Foray into Curation This determination to be defined narrowly has inspired him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time. "Galleries often failed to celebrate the right artists because they lacked the right pedigree," he observes. The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."