🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s. An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, currently a different political force looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more. According to Enninful, the solution has long been to promote 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 snapshot of modern Britain, featuring a wide range of influential figures from politics. "Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will fade." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." His formative years would define a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has involved hardship, including openly discussed periods of mental health and addiction. He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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." Curating a Cultural Era This drive to be defined narrowly has inspired him beyond the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he observes. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a proof to the power of following your instincts. What would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. 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 altered the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, currently a different political force looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more. According to Enninful, the solution has long been to promote 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 snapshot of modern Britain, featuring a wide range of influential figures from politics. "Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will fade." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." His formative years would define a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has involved hardship, including openly discussed periods of mental health and addiction. He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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." Curating a Cultural Era This drive to be defined narrowly has inspired him beyond the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he observes. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a proof to the power of following your instincts. What would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."