🔗 Share this article Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from literature. "People with a voice should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade." A New Wave of Consciousness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was." Those early experiences would define a pioneering career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has involved adversity, including openly discussed periods of depression and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to 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 restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has propelled him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he comments. The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a proof to the power of following your instincts. How would the Enninful of that era react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol. According to Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from literature. "People with a voice should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade." A New Wave of Consciousness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was." Those early experiences would define a pioneering career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has involved adversity, including openly discussed periods of depression and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to 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 restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has propelled him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he comments. The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a proof to the power of following your instincts. How would the Enninful of that era react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."