🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the rise of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again. In Enninful's view, the solution has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from literature. "People with a voice should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will pass." A New Wave of Consciousness He draws solace in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would shape a trailblazing career marked by fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside." Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved hardship, including well-documented struggles with depression and substance use. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place 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 thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This drive to fit into a box has led him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "Galleries didn't always celebrate the most relevant talents because they weren't of the expected background," he states. This project itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the rise of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again. In Enninful's view, the solution has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from literature. "People with a voice should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will pass." A New Wave of Consciousness He draws solace in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would shape a trailblazing career marked by fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside." Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved hardship, including well-documented struggles with depression and substance use. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place 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 thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This drive to fit into a box has led him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "Galleries didn't always celebrate the most relevant talents because they weren't of the expected background," he states. This project itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."