🔗 Share this article Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered 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 rolled into Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political force appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from music. "People with a voice should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass." The Younger Generation's Awareness 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." Those early experiences would define a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has involved challenges, including well-documented periods of mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced 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 vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to be typecast has propelled him beyond the realm that made his name. 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 explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "Galleries didn't always promote the truly innovative creators because they did not have the traditional credentials," he states. The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he states, is a demonstration to the power of following your instincts. How would the Enninful of that era make of the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered 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 rolled into Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political force appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from music. "People with a voice should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass." The Younger Generation's Awareness 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." Those early experiences would define a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has involved challenges, including well-documented periods of mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced 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 vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to be typecast has propelled him beyond the realm that made his name. 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 explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "Galleries didn't always promote the truly innovative creators because they did not have the traditional credentials," he states. The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he states, is a demonstration to the power of following your instincts. How would the Enninful of that era make of the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."