🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This shift is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol. In Enninful's view, the response has consistently been to celebrate 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 snapshot of modern Britain, featuring a broad spectrum of influential figures from politics. "Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will end." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would forge a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds." Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to adversity, including openly discussed periods of mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be typecast has propelled him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "Institutions didn't always shine a light on the most relevant talents because they weren't of the expected background," he states. The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of following your instincts. How would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This shift is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol. In Enninful's view, the response has consistently been to celebrate 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 snapshot of modern Britain, featuring a broad spectrum of influential figures from politics. "Individuals with a platform should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will end." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would forge a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds." Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has not been immune to adversity, including openly discussed periods of mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be typecast has propelled him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "Institutions didn't always shine a light on the most relevant talents because they weren't of the expected background," he states. The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of following your instincts. How would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."