🔗 Share this article Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This regression is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the hope of the Blair era, today a different political personality appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the antidote has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from politics. "Individuals with a platform should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will fade." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would forge a pioneering career characterised by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside." Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with depression and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has propelled him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time. "The establishment didn't always shine a light on the right artists because they did not have the traditional credentials," he observes. The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of following your instincts. What would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This regression is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the hope of the Blair era, today a different political personality appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the antidote has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from politics. "Individuals with a platform should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will fade." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would forge a pioneering career characterised by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside." Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with depression and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has propelled him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time. "The establishment didn't always shine a light on the right artists because they did not have the traditional credentials," he observes. The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of following your instincts. What would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."