🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, moving from model 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 recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This change is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the solution has consistently been to champion 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 portrait of modern Britain, showcasing a diverse array of prominent faces from politics. "Those in a position of influence should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this phase will pass." A New Wave of Consciousness He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was." His formative years would forge a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds." Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved hardship, including openly discussed periods of depression and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be typecast has inspired him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time. "Institutions sometimes neglected to celebrate the truly innovative creators because they did not have the right pedigree," he states. This venture itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of pursuing your passions. What would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, moving from model 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 recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This change is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the solution has consistently been to champion 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 portrait of modern Britain, showcasing a diverse array of prominent faces from politics. "Those in a position of influence should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this phase will pass." A New Wave of Consciousness He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was." His formative years would forge a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds." Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved hardship, including openly discussed periods of depression and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be typecast has inspired him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time. "Institutions sometimes neglected to celebrate the truly innovative creators because they did not have the right pedigree," he states. This venture itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of pursuing your passions. What would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."