🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. 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 became Saturday into Sunday. I miss that energy." If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "I believe, 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 shift is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the late 90s, currently a different political personality appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics. "Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was." His formative years would forge a trailblazing career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew. "To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has involved hardship, including well-documented struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all 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 refusal to be typecast has inspired him outside the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time. "Galleries often failed to celebrate the most relevant talents because they weren't of the right pedigree," he comments. The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. 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 became Saturday into Sunday. I miss that energy." If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "I believe, 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 shift is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the late 90s, currently a different political personality appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics. "Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was." His formative years would forge a trailblazing career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew. "To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has involved hardship, including well-documented struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all 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 refusal to be typecast has inspired him outside the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time. "Galleries often failed to celebrate the most relevant talents because they weren't of the right pedigree," he comments. The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."