🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This regression is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again. According to Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from politics. "People with a voice should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will fade." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was." His formative years would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew. "To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider." Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including publicly shared battles with mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be typecast has led him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he observes. This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This regression is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again. According to Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from politics. "People with a voice should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will fade." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was." His formative years would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew. "To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider." Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including publicly shared battles with mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be typecast has led him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he observes. This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."