🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, today a different political force appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from art. "People with a voice should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this moment will fade." The Younger Generation's Awareness He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was." Those early experiences would forge a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds." Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared struggles with mental health and substance use. He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 fashion person." Curating a Cultural Era This drive to fit into a box has inspired him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "The establishment often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he states. This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a proof to the power of following your instincts. How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, today a different political force appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from art. "People with a voice should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this moment will fade." The Younger Generation's Awareness He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was." Those early experiences would forge a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds." Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared struggles with mental health and substance use. He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 fashion person." Curating a Cultural Era This drive to fit into a box has inspired him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "The establishment often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he states. This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he believes, is a proof to the power of following your instincts. How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."