🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from music. "Those in a position of influence should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end." The Younger Generation's Awareness He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was." Those early experiences would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside." In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has involved challenges, including openly discussed periods of depression and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has propelled him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "Galleries often failed to celebrate the right artists because they lacked the traditional credentials," he states. The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a proof to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from music. "Those in a position of influence should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end." The Younger Generation's Awareness He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was." Those early experiences would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside." In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has involved challenges, including openly discussed periods of depression and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has propelled him away from the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "Galleries often failed to celebrate the right artists because they lacked the traditional credentials," he states. The magazine 72 itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a proof to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."