🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This regression is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a different political figure appears as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol. According to Enninful, the response has long been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from music. "Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this period will end." A New Wave of Consciousness He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." His formative years would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including well-documented periods of depression and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time. "The establishment didn't always promote the right artists because they lacked the traditional credentials," he comments. This project itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of following your instincts. How would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This regression is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a different political figure appears as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol. According to Enninful, the response has long been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from music. "Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this period will end." A New Wave of Consciousness He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." His formative years would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including well-documented periods of depression and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time. "The establishment didn't always promote the right artists because they lacked the traditional credentials," he comments. This project itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of following your instincts. How would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."