🔗 Share this article Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the growth of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political force looms as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from music. "Individuals with a platform should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will fade." A New Wave of Consciousness He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was." The beginnings of his career would define a groundbreaking career marked by boldness and inclusivity. 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 leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider." Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to adversity, including publicly shared battles with depression and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be typecast has inspired him outside the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time. "The establishment didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he observes. The magazine 72 itself functions with a unique approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision." An Unstoppable Drive Now, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of following your instincts. How would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach." He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the growth of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political force looms as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from music. "Individuals with a platform should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will fade." A New Wave of Consciousness He finds hope in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was." The beginnings of his career would define a groundbreaking career marked by boldness and inclusivity. 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 leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider." Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to adversity, including publicly shared battles with depression and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be typecast has inspired him outside the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time. "The establishment didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he observes. The magazine 72 itself functions with a unique approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision." An Unstoppable Drive Now, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of following your instincts. How would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach." He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."