🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political figure stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again. In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from art. "People with a voice should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was." Those early experiences would forge a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside." Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to adversity, including well-documented battles with depression and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place 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 thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has inspired him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time. "The establishment didn't always shine a light on the right artists because they weren't of the right pedigree," he observes. This project itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of following your instincts. How would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political figure stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again. In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from art. "People with a voice should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade." Hope in the Next Generation He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was." Those early experiences would forge a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside." Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to adversity, including well-documented battles with depression and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place 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 thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has inspired him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time. "The establishment didn't always shine a light on the right artists because they weren't of the right pedigree," he observes. This project itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of following your instincts. How would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."