π Share this article The fashion icon Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the peak of the YBA movement β Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood weβd be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, weβre more divided now than we were in the 90s," he observes. "Itβs not even this country β itβs a global phenomenon." A Cultural Backslide This change is increasingly evident: the resurgence of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. Replacing the hope of the previous decade, now a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again. In Enninful's view, the response has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from music. "Those in a position of influence should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. Thatβs the Britain I always loved. I believe this period will end." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice β I was not even aware what that was." Those early experiences would define a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose. "Ignoring large portions of the population, itβs not just that youβre failing to represent β itβs a poor strategy," he explains. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black β the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said Iβd achieve nothing. Me and my brothers were harassed under the Sus laws β¦ those experiences gave me a unique perspective between worlds." Defying the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including publicly shared periods of mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. Itβs comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, Iβm just going to pursue all that I was so fearful to do. Iβm not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to fit into a box has led him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy β and give platform to those who did not receive due recognition at the time. "Institutions didn't always promote the most relevant talents because they weren't of the expected background," he comments. This venture itself operates on a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision." A Testament to Resilience Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions. What would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but heβd be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once Iβve set my intention to do something."
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the peak of the YBA movement β Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood weβd be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, weβre more divided now than we were in the 90s," he observes. "Itβs not even this country β itβs a global phenomenon." A Cultural Backslide This change is increasingly evident: the resurgence of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. Replacing the hope of the previous decade, now a different political force stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again. In Enninful's view, the response has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from music. "Those in a position of influence should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. Thatβs the Britain I always loved. I believe this period will end." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice β I was not even aware what that was." Those early experiences would define a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose. "Ignoring large portions of the population, itβs not just that youβre failing to represent β itβs a poor strategy," he explains. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black β the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said Iβd achieve nothing. Me and my brothers were harassed under the Sus laws β¦ those experiences gave me a unique perspective between worlds." Defying the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including publicly shared periods of mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. Itβs comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, Iβm just going to pursue all that I was so fearful to do. Iβm not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to fit into a box has led him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy β and give platform to those who did not receive due recognition at the time. "Institutions didn't always promote the most relevant talents because they weren't of the expected background," he comments. This venture itself operates on a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision." A Testament to Resilience Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions. What would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but heβd be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once Iβve set my intention to do something."