🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, today a different political figure looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again. According to Enninful, the response has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art. "People with a voice should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will fade." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." The beginnings of his career would define a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity on the inside and the outside." Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including openly discussed periods of depression and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, 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 limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time. "Institutions didn't always promote the right artists because they lacked the expected background," he comments. The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a proof to the power of pursuing your passions. How would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, today a different political figure looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again. According to Enninful, the response has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art. "People with a voice should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will fade." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." The beginnings of his career would define a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity on the inside and the outside." Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including openly discussed periods of depression and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, 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 limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time. "Institutions didn't always promote the right artists because they lacked the expected background," he comments. The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a proof to the power of pursuing your passions. How would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."