🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This regression is increasingly evident: the growth of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from music. "People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this period will fade." Hope in the Next Generation He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was." Those early experiences would define a groundbreaking career built on boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the caricature of industry figures as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including publicly shared battles with mental health and substance use. He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he observes. This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Today, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of defying expectations. What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This regression is increasingly evident: the growth of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from music. "People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this period will fade." Hope in the Next Generation He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was." Those early experiences would define a groundbreaking career built on boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the caricature of industry figures as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including publicly shared battles with mental health and substance use. He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he observes. This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Today, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of defying expectations. What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."