🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force appears as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from literature. "Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was." Those early experiences would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator". "My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including openly discussed battles with depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has propelled him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential 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 a spotlight at the time. "The establishment often failed to celebrate the most relevant talents because they weren't of the right pedigree," he comments. This project itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions. What would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force appears as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from literature. "Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was." Those early experiences would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator". "My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including openly discussed battles with depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has propelled him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential 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 a spotlight at the time. "The establishment often failed to celebrate the most relevant talents because they weren't of the right pedigree," he comments. This project itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions. What would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."