🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness." Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. In Enninful's view, the response has long been to promote 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 snapshot of modern Britain, including a broad spectrum of influential figures from literature. "People with a voice should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." Those early experiences would define a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including openly discussed battles with mental health and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has led him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "The establishment often failed to promote the right artists because they weren't of the expected background," he comments. This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of defying expectations. How would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness." Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political personality stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. In Enninful's view, the response has long been to promote 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 snapshot of modern Britain, including a broad spectrum of influential figures from literature. "People with a voice should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." Those early experiences would define a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including openly discussed battles with mental health and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has led him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "The establishment often failed to promote the right artists because they weren't of the expected background," he comments. This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of defying expectations. How would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."