🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, today a more divisive political personality stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more. For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from literature. "People with a voice should wield it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this phase will end." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew. "To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has involved adversity, including well-documented battles with depression and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has led him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time. "Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he observes. The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of pursuing your passions. What would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, today a more divisive political personality stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more. For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from literature. "People with a voice should wield it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this phase will end." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew. "To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has involved adversity, including well-documented battles with depression and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has led him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time. "Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he observes. The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of pursuing your passions. What would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."