🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness." If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from politics. "Individuals with a platform should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this period will pass." A New Wave of Consciousness He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales rose. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider." In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including publicly shared battles with mental health and addiction. He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has inspired him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions sometimes neglected to shine a light on the right artists because they did not have the expected background," he comments. This project itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a proof to the power of pursuing your passions. What would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness." If Enninful sounds sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from politics. "Individuals with a platform should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this period will pass." A New Wave of Consciousness He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales rose. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider." In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including publicly shared battles with mental health and addiction. He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has inspired him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions sometimes neglected to shine a light on the right artists because they did not have the expected background," he comments. This project itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a proof to the power of pursuing your passions. What would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."