🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. According to Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music. "People with a voice should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass." Hope in the Next Generation He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would define a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including openly discussed battles with depression and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This determination to fit into a box has led him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time. "Institutions didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he comments. This venture itself operates on a unique strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of defying expectations. How would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. According to Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music. "People with a voice should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass." Hope in the Next Generation He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would define a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including openly discussed battles with depression and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This determination to fit into a box has led him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time. "Institutions didn't always shine a light on the truly innovative creators because they lacked the traditional credentials," he comments. This venture itself operates on a unique strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of defying expectations. How would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."