🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a different political figure looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more. For Enninful, the response has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from music. "People with a voice should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." His formative years would forge a trailblazing career characterised by boldness and diversity. 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 tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, 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 emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including openly discussed battles with depression and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has led him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he states. This venture itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of following your instincts. How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "I never take anything for granted. We lost our home, 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 nothing can stop me once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a different political figure looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more. For Enninful, the response has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from music. "People with a voice should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade." A New Wave of Consciousness He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." His formative years would forge a trailblazing career characterised by boldness and diversity. 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 tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, 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 emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including openly discussed battles with depression and addiction. He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has led him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he states. This venture itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of following your instincts. How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "I never take anything for granted. We lost our home, 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 nothing can stop me once I’ve set my intention to do something."