🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is increasingly evident: the growth of populist movements, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol. For Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art. "People with a voice should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside." Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved adversity, including openly discussed battles with depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This determination to fit into a box has led him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time. "The establishment often failed to promote the right artists because they lacked the right pedigree," he states. This project itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the Enninful of that era make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We fled, we fled our country. I almost 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 decided to do something."
An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is increasingly evident: the growth of populist movements, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol. For Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art. "People with a voice should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside." Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved adversity, including openly discussed battles with depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This determination to fit into a box has led him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time. "The establishment often failed to promote the right artists because they lacked the right pedigree," he states. This project itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most influential creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the Enninful of that era make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We fled, we fled our country. I almost 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 decided to do something."