🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a more divisive political force looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more. In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art. "People with a voice should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass." A New Wave of Consciousness He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was." His formative years would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales increased. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds." In contrast to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including well-documented battles with mental health and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be typecast has propelled him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "The establishment didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he states. The magazine 72 itself uses a unique approach, 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 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 story, he feels, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s make of the his current self? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."
A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a more divisive political force looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more. In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art. "People with a voice should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass." A New Wave of Consciousness He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was." His formative years would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Significantly, sales increased. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds." In contrast to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including well-documented battles with mental health and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be typecast has propelled him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "The establishment didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he states. The magazine 72 itself uses a unique approach, 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 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 story, he feels, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s make of the his current self? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."