🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This change is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political force stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. For Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from music. "Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this moment will fade." The Younger Generation's Awareness He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was." His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor". "My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside." In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has involved adversity, including well-documented struggles with depression and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear 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 is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has propelled him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time. "Institutions sometimes neglected to promote the right artists because they did not have the right pedigree," he states. This project itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Today, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations. How would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This change is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political force stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. For Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from music. "Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this moment will fade." The Younger Generation's Awareness He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was." His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor". "My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside." In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has involved adversity, including well-documented struggles with depression and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear 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 is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has propelled him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time. "Institutions sometimes neglected to promote the right artists because they did not have the right pedigree," he states. This project itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Today, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations. How would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."