🔗 Share this article Edward Enninful on Modern Britain: 'We Are 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 swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This change is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again. According to Enninful, the antidote 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 celebration of modern Britain, featuring a diverse array of influential figures from art. "Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade." Hope in the Next Generation He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was." Those early experiences would forge a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew. "To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including well-documented periods of mental health and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Galleries sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he comments. The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of following your instincts. What would the Edward of the 90s make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out 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 swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This change is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political figure stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again. According to Enninful, the antidote 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 celebration of modern Britain, featuring a diverse array of influential figures from art. "Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade." Hope in the Next Generation He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was." Those early experiences would forge a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew. "To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including well-documented periods of mental health and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Galleries sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he comments. The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of following your instincts. What would the Edward of the 90s make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."