🔗 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 during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "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 long for that energy." Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. In Enninful's view, the solution has always been to promote culture in all its variety. 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 broad spectrum of cultural icons from music. "People with a voice should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will fade." The Younger Generation's Awareness He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was." Those early experiences would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises. 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 former post. He states his aim to continue being a "innovator". "I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of challenges, including well-documented battles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be defined narrowly has inspired him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time. "Institutions sometimes neglected to promote the most relevant talents because they weren't of the expected background," he observes. The magazine 72 itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of pursuing your passions. What would the younger Edward make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach." He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "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 long for that energy." Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. In Enninful's view, the solution has always been to promote culture in all its variety. 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 broad spectrum of cultural icons from music. "People with a voice should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will fade." The Younger Generation's Awareness He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was." Those early experiences would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises. 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 former post. He states his aim to continue being a "innovator". "I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of challenges, including well-documented battles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be defined narrowly has inspired him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time. "Institutions sometimes neglected to promote the most relevant talents because they weren't of the expected background," he observes. The magazine 72 itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of pursuing your passions. What would the younger Edward make of the man he has become? He smiles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach." He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."