🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Cultural Backslide This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a different political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from art. "Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will fade." The Younger Generation's Awareness He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants 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 arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including openly discussed struggles with mental health and substance use. He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time. "Institutions often failed to celebrate the right artists because they weren't of the right pedigree," he states. This project itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of defying expectations. How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then 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 fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Cultural Backslide This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, today a different political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from art. "Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will fade." The Younger Generation's Awareness He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants 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 arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Defying the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including openly discussed struggles with mental health and substance use. He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time. "Institutions often failed to celebrate the right artists because they weren't of the right pedigree," he states. This project itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of defying expectations. How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then 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 fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."