🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the rise of far-right politics, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, today a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the antidote has always been to champion 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 diverse array of prominent faces from literature. "Individuals with a platform should wield it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will pass." The Younger Generation's Awareness He finds hope in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was." His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds." In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to hardship, including well-documented struggles with mental health and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be defined narrowly has inspired him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "The establishment sometimes neglected to promote the right artists because they weren't of the traditional credentials," he states. This venture itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of following your instincts. How would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the rise of far-right politics, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, today a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the antidote has always been to champion 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 diverse array of prominent faces from literature. "Individuals with a platform should wield it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will pass." The Younger Generation's Awareness He finds hope in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was." His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds." In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to hardship, including well-documented struggles with mental health and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be defined narrowly has inspired him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "The establishment sometimes neglected to promote the right artists because they weren't of the traditional credentials," he states. This venture itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of following your instincts. How would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."