🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, 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 nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. According to Enninful, the antidote has long been to promote 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, featuring a diverse array of prominent faces from literature. "People with a voice should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was." His formative years would forge a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. 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 unique perspective on the inside and the outside." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including openly discussed periods of mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 fashion person." Curating a Cultural Era This refusal to be typecast has led him outside the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time. "Institutions didn't always promote the most relevant talents because they weren't of the right pedigree," he observes. The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, 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 nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, currently a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. According to Enninful, the antidote has long been to promote 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, featuring a diverse array of prominent faces from literature. "People with a voice should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was." His formative years would forge a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. 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 unique perspective on the inside and the outside." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including openly discussed periods of mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 fashion person." Curating a Cultural Era This refusal to be typecast has led him outside the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time. "Institutions didn't always promote the most relevant talents because they weren't of the right pedigree," he observes. The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."