🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." While Enninful may seem sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, now a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again. For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from music. "Individuals with a platform should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this period will pass." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." Those early experiences would forge a trailblazing career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales rose. "Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds." Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including openly discussed struggles with mental health and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be typecast has propelled him outside the world that established him. He is now organising a seminal 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 did not receive adequate attention at the time. "The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he observes. The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of following your instincts. How would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." While Enninful may seem sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, now a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again. For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from music. "Individuals with a platform should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this period will pass." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." Those early experiences would forge a trailblazing career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales rose. "Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds." Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including openly discussed struggles with mental health and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be typecast has propelled him outside the world that established him. He is now organising a seminal 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 did not receive adequate attention at the time. "The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he observes. The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of following your instincts. How would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."