🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This change is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from literature. "Individuals with a platform should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was." His formative years would define a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 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 the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds." Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has involved hardship, including openly discussed periods of mental health and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has inspired him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time. "Galleries sometimes neglected to promote the right artists because they lacked the expected background," he comments. The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Now, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of defying expectations. How would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This change is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from literature. "Individuals with a platform should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was." His formative years would define a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 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 the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds." Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has involved hardship, including openly discussed periods of mental health and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has inspired him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time. "Galleries sometimes neglected to promote the right artists because they lacked the expected background," he comments. The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Now, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of defying expectations. How would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."