🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This regression is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. In place of the hope of the late 90s, currently a different political figure looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. In Enninful's view, the response has long been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from art. "People with a voice should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." The beginnings of his career would define a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned 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 found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider." In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed battles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has led him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time. "The establishment often failed to shine a light on the most relevant talents because they weren't of the expected background," he comments. The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions. How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This regression is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. In place of the hope of the late 90s, currently a different political figure looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. In Enninful's view, the response has long been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from art. "People with a voice should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." The beginnings of his career would define a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned 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 found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider." In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed battles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has led him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time. "The establishment often failed to shine a light on the most relevant talents because they weren't of the expected background," he comments. The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions. How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."