🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, currently a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again. For Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from literature. "People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." His formative years would forge a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside." Defying the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with depression and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be typecast has inspired him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "The establishment didn't always celebrate the most relevant talents because they weren't of the expected background," he states. This venture itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions. What would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, currently a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again. For Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from literature. "People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." His formative years would forge a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside." Defying the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with depression and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be typecast has inspired him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "The establishment didn't always celebrate the most relevant talents because they weren't of the expected background," he states. This venture itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions. What would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."