🔗 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 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful believes 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 a global phenomenon." Shifting Attitudes This shift is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, currently a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music. "Those in a position of influence should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will end." The Younger Generation's Awareness He draws solace in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." His formative years would forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds." Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including well-documented battles with depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all 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 be typecast has led him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time. "The establishment didn't always shine a light on the most relevant talents because they did not have the right pedigree," he comments. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of defying expectations. How would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful believes 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 a global phenomenon." Shifting Attitudes This shift is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, currently a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music. "Those in a position of influence should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will end." The Younger Generation's Awareness He draws solace in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." His formative years would forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds." Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including well-documented battles with depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all 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 be typecast has led him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time. "The establishment didn't always shine a light on the most relevant talents because they did not have the right pedigree," he comments. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of defying expectations. How would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."