🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political personality looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again. According to Enninful, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art. "Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will end." Hope in the Next Generation He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose. "When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider." Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has involved challenges, including well-documented struggles with depression and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This determination to fit into a box has led him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time. "The establishment often failed to celebrate the right artists because they lacked the expected background," he comments. This project itself uses a different approach, 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 a piece within a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of following your instincts. What would the younger Edward react to the Edward of today? He chuckles. "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 a place for someone like me." He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political personality looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again. According to Enninful, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art. "Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will end." Hope in the Next Generation He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose. "When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider." Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has involved challenges, including well-documented struggles with depression and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This determination to fit into a box has led him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time. "The establishment often failed to celebrate the right artists because they lacked the expected background," he comments. This project itself uses a different approach, 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 a piece within a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of following your instincts. What would the younger Edward react to the Edward of today? He chuckles. "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 a place for someone like me." He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."