🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a profound shift. "In my view, 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 difficult to overlook: the growth of populist movements, the reaction against progressive values, and the return of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music. "People with a voice should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will end." The Younger Generation's Awareness He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was." The beginnings of his career would forge a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds." In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved adversity, including well-documented battles with mental health and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This drive to be defined narrowly has led him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time. "Institutions sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he states. This project itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of following your instincts. How would the Edward of the 90s think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a profound shift. "In my view, 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 difficult to overlook: the growth of populist movements, the reaction against progressive values, and the return of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music. "People with a voice should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will end." The Younger Generation's Awareness He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was." The beginnings of his career would forge a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity between worlds." In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved adversity, including well-documented battles with mental health and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This drive to be defined narrowly has led him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time. "Institutions sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he states. This project itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of following your instincts. How would the Edward of the 90s think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."