🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I believe, 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 shift is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political force appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again. According to Enninful, the solution has long been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature. "Those in a position of influence should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was." His formative years would define a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds." Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of hardship, including well-documented periods of mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be defined narrowly has propelled him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time. "Galleries didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he observes. This project itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision." An Unstoppable Drive Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions. How would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I believe, 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 shift is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political force appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again. According to Enninful, the solution has long been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature. "Those in a position of influence should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was." His formative years would define a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds." Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of hardship, including well-documented periods of mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be defined narrowly has propelled him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time. "Galleries didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he observes. This project itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision." An Unstoppable Drive Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions. How would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."