🔗 Share this article Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy." Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This change is hard to ignore: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the antidote has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature. "People with a voice should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end." A New Wave of Consciousness He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "disruptor". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside." Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to adversity, including well-documented battles with depression and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he comments. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "The question is, 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 operates as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of defying expectations. What would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy." Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This change is hard to ignore: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the antidote has consistently been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature. "People with a voice should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end." A New Wave of Consciousness He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "disruptor". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside." Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to adversity, including well-documented battles with depression and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he comments. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "The question is, 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 operates as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of defying expectations. What would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."