🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the hope of the late 90s, now a different political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. For Enninful, the response has always been to promote 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 snapshot of modern Britain, featuring a wide range of cultural icons from literature. "Those in a position of influence should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade." A New Wave of Consciousness He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would define a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. 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 … all that gave me a unique perspective on the inside and the outside." Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has involved hardship, including openly discussed struggles with depression and addiction. He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 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 confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has led him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time. "Galleries often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he observes. The magazine 72 itself operates on a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of following your instincts. What would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the hope of the late 90s, now a different political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. For Enninful, the response has always been to promote 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 snapshot of modern Britain, featuring a wide range of cultural icons from literature. "Those in a position of influence should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade." A New Wave of Consciousness He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would define a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. 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 … all that gave me a unique perspective on the inside and the outside." Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has involved hardship, including openly discussed struggles with depression and addiction. He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 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 confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has led him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time. "Galleries often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he observes. The magazine 72 itself operates on a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of following your instincts. What would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."