🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s. A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This change is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again. In Enninful's view, the response has always been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from art. "Those in a position of influence should use it," he says, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass." Hope in the Next Generation He takes comfort in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent 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 Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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 fashion person." The Tate Britain Exhibition This drive to fit into a box has led him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time. "Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he states. This project itself uses a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision." An Unstoppable Drive Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts. What would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This change is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again. In Enninful's view, the response has always been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from art. "Those in a position of influence should use it," he says, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass." Hope in the Next Generation He takes comfort in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent 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 Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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 fashion person." The Tate Britain Exhibition This drive to fit into a box has led him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time. "Galleries sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he states. This project itself uses a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision." An Unstoppable Drive Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts. What would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."