🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the Blair era, now a different political personality stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music. "People with a voice should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will fade." Hope in the Next Generation He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." His formative years would shape a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside." In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including publicly shared battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful 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 be defined narrowly has led 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 pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time. "Institutions didn't always shine a light on the truly innovative creators because they weren't of the expected background," he states. The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the Blair era, now a different political personality stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music. "People with a voice should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will fade." Hope in the Next Generation He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." His formative years would shape a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside." In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including publicly shared battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful 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 be defined narrowly has led 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 pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time. "Institutions didn't always shine a light on the truly innovative creators because they weren't of the expected background," he states. The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."