🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a different political force appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art. "Those in a position of influence should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will fade." The Younger Generation's Awareness He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would shape a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Launching a Creative Venture He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented struggles with depression and substance use. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place 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 passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to fit into a box has inspired him beyond the realm that built his career. He is now curating a significant 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 creative cross-pollination – and highlight those who lacked a spotlight at the time. "The establishment didn't always shine a light on the right artists because they lacked the traditional credentials," he observes. The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of following your instincts. How would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a different political force appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art. "Those in a position of influence should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will fade." The Younger Generation's Awareness He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would shape a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Launching a Creative Venture He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented struggles with depression and substance use. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place 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 passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to fit into a box has inspired him beyond the realm that built his career. He is now curating a significant 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 creative cross-pollination – and highlight those who lacked a spotlight at the time. "The establishment didn't always shine a light on the right artists because they lacked the traditional credentials," he observes. The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of following your instincts. How would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."