🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again. In Enninful's view, 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, featuring a broad spectrum of influential figures from music. "People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end." Hope in the Next Generation He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was." His formative years would define a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was 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 became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective both an insider and outsider." Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has involved hardship, including publicly shared periods of mental health and addiction. He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has propelled him outside the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "The establishment often failed to promote the right artists because they weren't of the expected background," he comments. This venture itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a testament to the power of pursuing your passions. How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again. In Enninful's view, 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, featuring a broad spectrum of influential figures from music. "People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end." Hope in the Next Generation He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was." His formative years would define a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was 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 became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective both an insider and outsider." Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has involved hardship, including publicly shared periods of mental health and addiction. He has also faced serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has propelled him outside the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "The establishment often failed to promote the right artists because they weren't of the expected background," he comments. This venture itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a testament to the power of pursuing your passions. How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."