🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." Shifting Attitudes This change is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political force looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. According to Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from politics. "Individuals with a platform should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade." The Younger Generation's Awareness He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would shape a pioneering career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew. "To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains. Launching a Creative Venture He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider." In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including openly discussed struggles with mental health and substance use. He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has inspired him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time. "Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he states. This venture itself functions with a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a proof to the power of following your instincts. What would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." Shifting Attitudes This change is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political force looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. According to Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from politics. "Individuals with a platform should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade." The Younger Generation's Awareness He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would shape a pioneering career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew. "To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains. Launching a Creative Venture He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider." In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including openly discussed struggles with mental health and substance use. He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has inspired him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time. "Institutions sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he states. This venture itself functions with a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a proof to the power of following your instincts. What would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."