🔗 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 path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. 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." While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This change is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a different political figure stands as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again. According to Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will fade." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was." Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales grew. "To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains. Launching a Creative Venture He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has involved adversity, including publicly shared periods of depression and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, fearing I was going to go blind. 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 afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has inspired him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time. "Institutions didn't always promote the right artists because they lacked the right pedigree," he comments. This project itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. 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." While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This change is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a different political figure stands as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again. According to Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will fade." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was." Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales grew. "To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains. Launching a Creative Venture He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has involved adversity, including publicly shared periods of depression and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, fearing I was going to go blind. 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 afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has inspired him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time. "Institutions didn't always promote the right artists because they lacked the right pedigree," he comments. This project itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."