🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a different political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again. According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from literature. "Those in a position of influence should use it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass." The Younger Generation's Awareness He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was." The beginnings of his career would forge a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity on the inside and the outside." Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including publicly shared periods of depression and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything 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 refusal to fit into a box has propelled him beyond the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time. "Galleries didn't always shine a light on the right artists because they did not have the expected background," he comments. The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most influential industry leaders. His journey, he believes, is a testament to the power of pursuing your passions. What would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a different political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again. According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from literature. "Those in a position of influence should use it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this phase will pass." The Younger Generation's Awareness He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was." The beginnings of his career would forge a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity on the inside and the outside." Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including publicly shared periods of depression and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything 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 refusal to fit into a box has propelled him beyond the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time. "Galleries didn't always shine a light on the right artists because they did not have the expected background," he comments. The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most influential industry leaders. His journey, he believes, is a testament to the power of pursuing your passions. What would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."