🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That era was the peak 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 great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But since that time, 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 worldwide." A Perceived Regression This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different political force appears as a potential leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more. According to Enninful, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from art. "Those in a position of influence should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this moment will end." The Younger Generation's Awareness He draws solace in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would define a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds." Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including openly discussed periods of depression and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has led him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time. "Institutions often failed to promote the right artists because they did not have the expected background," he comments. The magazine 72 itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts. How would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That era was the peak 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 great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But since that time, 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 worldwide." A Perceived Regression This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different political force appears as a potential leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more. According to Enninful, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from art. "Those in a position of influence should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this moment will end." The Younger Generation's Awareness He draws solace in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would define a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds." Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including openly discussed periods of depression and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has led him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time. "Institutions often failed to promote the right artists because they did not have the expected background," he comments. The magazine 72 itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts. How would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."