🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This shift is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol. For Enninful, the response has always been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from art. "Those in a position of influence should employ it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was." Those early experiences would forge a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including well-documented battles with depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to be defined narrowly has inspired him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he observes. The magazine 72 itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."
A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This shift is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol. For Enninful, the response has always been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from art. "Those in a position of influence should employ it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was." Those early experiences would forge a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including well-documented battles with depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to be defined narrowly has inspired him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he observes. The magazine 72 itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."