🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This shift is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political personality appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again. In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from politics. "Individuals with a platform should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade." A New Wave of Consciousness He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would shape a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has involved hardship, including well-documented struggles with mental health and substance use. He has also endured significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 fashion person." A Foray into Curation This determination to be typecast has led him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time. "Galleries often failed to promote the right artists because they did not have the right pedigree," he states. The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component 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 proof to the power of defying expectations. What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This shift is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political personality appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again. In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from politics. "Individuals with a platform should use it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will fade." A New Wave of Consciousness He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would shape a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has involved hardship, including well-documented struggles with mental health and substance use. He has also endured significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 fashion person." A Foray into Curation This determination to be typecast has led him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time. "Galleries often failed to promote the right artists because they did not have the right pedigree," he states. The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component 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 proof to the power of defying expectations. What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."