🔗 Share this article Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. In place of the hope of the Blair era, now a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. According to Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature. "People with a voice should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew. "To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside." Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has not been immune to hardship, including well-documented battles with mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. 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 confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has led him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "The establishment sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he comments. This project itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Currently, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of following your instincts. What would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. In place of the hope of the Blair era, now a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. According to Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature. "People with a voice should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew. "To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside." Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has not been immune to hardship, including well-documented battles with mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. 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 confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has led him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "The establishment sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he comments. This project itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Currently, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of following your instincts. What would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."