🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political personality stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again. According to Enninful, the response has always been to champion 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from music. "Those in a position of influence should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this moment will pass." The Younger Generation's Awareness He finds hope in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was." His formative years would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider." In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including publicly shared struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him away from the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time. "The establishment didn't always promote the most relevant talents because they lacked the expected background," he comments. This venture itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a testament to the power of pursuing your passions. What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time 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 were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery during a tube journey in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political personality stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again. According to Enninful, the response has always been to champion 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from music. "Those in a position of influence should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this moment will pass." The Younger Generation's Awareness He finds hope in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was." His formative years would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider." In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including publicly shared struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him away from the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time. "The establishment didn't always promote the most relevant talents because they lacked the expected background," he comments. This venture itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a testament to the power of pursuing your passions. What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time 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 were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."