🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the hope of the previous decade, today a different political force appears as a potential 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 core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from music. "People with a voice should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end." A New Wave of Consciousness He finds hope in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was." His formative years would define a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed struggles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to fit into a box has led him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host 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. "Galleries often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he states. This venture itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions. How would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the hope of the previous decade, today a different political force appears as a potential 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 core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from music. "People with a voice should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end." A New Wave of Consciousness He finds hope in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was." His formative years would define a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed struggles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to fit into a box has led him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host 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. "Galleries often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he states. This venture itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions. How would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."