🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Perceived Regression This change is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from politics. "Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." His formative years would shape a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased. "When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator". "I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved challenges, including well-documented periods of mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, fearing 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 pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has inspired him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – 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 did not have the right pedigree," he comments. The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of following your instincts. How would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Perceived Regression This change is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from politics. "Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was." His formative years would shape a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased. "When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator". "I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved challenges, including well-documented periods of mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, fearing 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 pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has inspired him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – 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 did not have the right pedigree," he comments. The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of following your instincts. How would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."