🔗 Share this article Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." Shifting Attitudes This shift is hard to ignore: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, now a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has always been to celebrate 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 diverse array of prominent faces from music. "Individuals with a platform should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will end." A New Wave of Consciousness He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider." Defying the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including well-documented struggles with mental health and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be typecast has propelled him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he comments. The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision." A Testament to Resilience Today, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of following your instincts. How would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." Shifting Attitudes This shift is hard to ignore: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, now a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has always been to celebrate 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 diverse array of prominent faces from music. "Individuals with a platform should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will end." A New Wave of Consciousness He takes comfort in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider." Defying the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including well-documented struggles with mental health and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be typecast has propelled him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he comments. The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision." A Testament to Resilience Today, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of following your instincts. How would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."