🔗 Share this article Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That time was the height of the Britart scene – 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 rolled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure looms as a possible 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 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics. "Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will fade." The Younger Generation's Awareness He draws solace in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was." Those early experiences would define a groundbreaking career characterised by fearlessness and representation. 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 leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds." Defying the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to challenges, including well-documented struggles with mental health and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has propelled him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time. "The establishment often failed to celebrate the most relevant talents because they lacked the traditional credentials," he comments. This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of pursuing your passions. How would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach." He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."
A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That time was the height of the Britart scene – 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 rolled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure looms as a possible 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 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics. "Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will fade." The Younger Generation's Awareness He draws solace in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was." Those early experiences would define a groundbreaking career characterised by fearlessness and representation. 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 leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds." Defying the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to challenges, including well-documented struggles with mental health and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has propelled him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time. "The establishment often failed to celebrate the most relevant talents because they lacked the traditional credentials," he comments. This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of pursuing your passions. How would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach." He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."