🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. According to Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from art. "People with a voice should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." Those early experiences would define a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. Beyond the Magazine World He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including well-documented periods of depression and addiction. He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to fit into a box has led him beyond the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he observes. The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a demonstration to the power of defying expectations. What would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. According to Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from art. "People with a voice should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." Those early experiences would define a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. Beyond the Magazine World He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including well-documented periods of depression and addiction. He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to fit into a box has led him beyond the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he observes. The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a demonstration to the power of defying expectations. What would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."