🔗 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 immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." Shifting Attitudes This shift is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more. In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics. "Those in a position of influence should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will pass." Hope in the Next Generation He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." His formative years would shape a groundbreaking career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased. "To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider." Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including publicly shared battles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has propelled him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "Galleries didn't always promote the truly innovative creators because they lacked the expected background," he observes. This venture itself functions with a unique approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of following your instincts. How would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. 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 immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." Shifting Attitudes This shift is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more. In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics. "Those in a position of influence should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will pass." Hope in the Next Generation He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." His formative years would shape a groundbreaking career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased. "To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider." Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has not been immune to adversity, including publicly shared battles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has propelled him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "Galleries didn't always promote the truly innovative creators because they lacked the expected background," he observes. This venture itself functions with a unique approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of following your instincts. How would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."