🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a profound shift. "In my view, 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 regression is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, now a different political personality looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the response has long been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from literature. "Those in a position of influence should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade." The Younger Generation's Awareness He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." His formative years would shape a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds." Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including openly discussed periods of depression and addiction. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he states. The magazine 72 itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of following your instincts. How would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a profound shift. "In my view, 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 regression is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, now a different political personality looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the response has long been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from literature. "Those in a position of influence should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade." The Younger Generation's Awareness He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." His formative years would shape a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds." Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including openly discussed periods of depression and addiction. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has led him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he states. The magazine 72 itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of following your instincts. How would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."