🔗 Share this article Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This regression is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure appears as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more. In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from art. "Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will fade." A New Wave of Consciousness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would forge a trailblazing career marked by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including well-documented struggles with depression and substance use. He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This determination to be defined narrowly has propelled him outside the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time. "Galleries sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he observes. This venture itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of following your instincts. How would the younger Edward think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We lost our home, we left our homeland. 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 made up my mind to do something."
An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This regression is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure appears as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more. In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from art. "Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will fade." A New Wave of Consciousness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would forge a trailblazing career marked by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including well-documented struggles with depression and substance use. He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This determination to be defined narrowly has propelled him outside the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time. "Galleries sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he observes. This venture itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of following your instincts. How would the younger Edward think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We lost our home, we left our homeland. 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 made up my mind to do something."