🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the rise of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political force stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again. For Enninful, the solution has long been to promote 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 wide range of cultural icons from music. "Individuals with a platform should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would shape a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including publicly shared struggles with mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time. "Institutions didn't always shine a light on the right artists because they did not have the traditional credentials," he comments. This project itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts. How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the rise of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political force stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again. For Enninful, the solution has long been to promote 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 wide range of cultural icons from music. "Individuals with a platform should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would shape a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including publicly shared struggles with mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time. "Institutions didn't always shine a light on the right artists because they did not have the traditional credentials," he comments. This project itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts. How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."