🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s. A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music. "Those in a position of influence should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been 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." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would forge a pioneering career characterised by boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds." In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of hardship, including well-documented struggles with mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has led him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "Galleries sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he states. This project itself uses a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a proof to the power of following your instincts. What would the Edward of the 90s make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music. "Those in a position of influence should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been 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." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would forge a pioneering career characterised by boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds." In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of hardship, including well-documented struggles with mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has led him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "Galleries sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he states. This project itself uses a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a proof to the power of following your instincts. What would the Edward of the 90s make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."