🔗 Share this article Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, 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 – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This change is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, today a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from politics. "Individuals with a platform should wield it," he says, discussing those editorial decisions. "People often debate 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 refuge and an education. That’s the Britain I believed in. I trust this moment will pass." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." Those early experiences would shape a groundbreaking career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Beyond the Magazine World He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to challenges, including well-documented periods of mental health and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has inspired him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time. "The establishment didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he states. This project itself functions with a novel strategy, forgoing 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 larger creative platform." Looking Forward Without Fear Now, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a testament to the power of defying expectations. What would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach." He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, 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 – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This change is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, today a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from politics. "Individuals with a platform should wield it," he says, discussing those editorial decisions. "People often debate 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 refuge and an education. That’s the Britain I believed in. I trust this moment will pass." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." Those early experiences would shape a groundbreaking career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Beyond the Magazine World He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to challenges, including well-documented periods of mental health and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has inspired him away from the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time. "The establishment didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he states. This project itself functions with a novel strategy, forgoing 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 larger creative platform." Looking Forward Without Fear Now, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a testament to the power of defying expectations. What would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach." He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."