🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s. An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political personality appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol. In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from music. "Those in a position of influence should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade." The Younger Generation's Awareness He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." His formative years would forge a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. 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." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including openly discussed battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in 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 prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has led him outside the realm that established him. 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 interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "Institutions didn't always promote the truly innovative creators because they weren't of the right pedigree," he states. The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of following your instincts. How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "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 doubted me my entire life. But nothing can stop me once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political personality appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol. In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from music. "Those in a position of influence should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade." The Younger Generation's Awareness He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." His formative years would forge a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. 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." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including openly discussed battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in 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 prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has led him outside the realm that established him. 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 interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "Institutions didn't always promote the truly innovative creators because they weren't of the right pedigree," he states. The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a demonstration to the power of following your instincts. How would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "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 doubted me my entire life. But nothing can stop me once I’ve decided to do something."