🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the late 90s, now a different political figure appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from music. "People with a voice should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will fade." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states. Beyond the Magazine World He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds." In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has included its share of adversity, including publicly shared periods of mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be typecast has propelled him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time. "The establishment didn't always celebrate the truly innovative creators because they weren't of the right pedigree," he states. This venture itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a proof to the power of pursuing your passions. What would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the late 90s, now a different political figure appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from music. "People with a voice should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will fade." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states. Beyond the Magazine World He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds." In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has included its share of adversity, including publicly shared periods of mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be typecast has propelled him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time. "The establishment didn't always celebrate the truly innovative creators because they weren't of the right pedigree," he states. This venture itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a proof to the power of pursuing your passions. What would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."