🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the zenith 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 knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political personality appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. For Enninful, the response has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature. "People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would define a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside." Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including openly discussed battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has inspired him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he comments. The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision." An Unstoppable Drive Today, Enninful operates as one of the world's most influential cultural influencers. His story, he believes, is a testament to the power of defying expectations. How would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the zenith 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 knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political personality appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. For Enninful, the response has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature. "People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would define a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside." Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including openly discussed battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has inspired him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he comments. The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision." An Unstoppable Drive Today, Enninful operates as one of the world's most influential cultural influencers. His story, he believes, is a testament to the power of defying expectations. How would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."