🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This shift is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, today a more divisive political force looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from art. "People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." His formative years would define a pioneering career built on fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales increased. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds." Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to adversity, including openly discussed struggles with depression and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has led him outside the world that made his name. He is now organising 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 interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "Institutions didn't always celebrate the most relevant talents because they lacked the expected background," he observes. The magazine 72 itself uses a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of defying expectations. How would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This shift is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, today a more divisive political force looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from art. "People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." His formative years would define a pioneering career built on fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales increased. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds." Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to adversity, including openly discussed struggles with depression and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has led him outside the world that made his name. He is now organising 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 interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "Institutions didn't always celebrate the most relevant talents because they lacked the expected background," he observes. The magazine 72 itself uses a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of defying expectations. How would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."