🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This shift is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from literature. "Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would forge a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider." In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including openly discussed battles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to be typecast has inspired him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time. "Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he comments. This venture itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This shift is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from literature. "Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would forge a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider." In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including openly discussed battles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to be typecast has inspired him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time. "Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he comments. This venture itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."