🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." Shifting Attitudes This shift is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from art. "Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end." A New Wave of Consciousness He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales increased. "Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has recently launched 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 "innovator". "I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider." Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has involved hardship, including publicly shared struggles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, 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 limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has propelled him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time. "The establishment often failed to celebrate the right artists because they did not have the right pedigree," he states. This project itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision." A Testament to Resilience Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of following your instincts. How would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." Shifting Attitudes This shift is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from art. "Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end." A New Wave of Consciousness He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales increased. "Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has recently launched 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 "innovator". "I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider." Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has involved hardship, including publicly shared struggles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, 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 limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has propelled him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time. "The establishment often failed to celebrate the right artists because they did not have the right pedigree," he states. This project itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision." A Testament to Resilience Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of following your instincts. How would the Enninful of that era think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."