🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Cultural Backslide This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a different political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again. In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from art. "People with a voice should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." The beginnings of his career would shape a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion 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 softly spoken and radiates serenity. His path has included its share of adversity, including openly discussed battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be defined narrowly has inspired him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time. "The establishment often failed to promote the truly innovative creators because they lacked the expected background," he states. This project itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."
A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Cultural Backslide This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a different political force looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again. In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from art. "People with a voice should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." The beginnings of his career would shape a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion 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 softly spoken and radiates serenity. His path has included its share of adversity, including openly discussed battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be defined narrowly has inspired him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time. "The establishment often failed to promote the truly innovative creators because they lacked the expected background," he states. This project itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."