🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a different political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the antidote has always been to celebrate 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 celebration of modern Britain, showcasing a wide range of cultural icons from music. "Those in a position of influence should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." The beginnings of his career would shape a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states. Launching a Creative Venture He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including well-documented struggles with depression and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be typecast has propelled him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "The establishment didn't always promote the most relevant talents because they weren't of the right pedigree," he comments. The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a proof to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "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 underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a different political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the antidote has always been to celebrate 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 celebration of modern Britain, showcasing a wide range of cultural icons from music. "Those in a position of influence should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." The beginnings of his career would shape a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states. Launching a Creative Venture He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including well-documented struggles with depression and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be typecast has propelled him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "The establishment didn't always promote the most relevant talents because they weren't of the right pedigree," he comments. The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a proof to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "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 underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."