🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I believe, 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 regression is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from politics. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will fade." Hope in the Next Generation He draws solace 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 forge a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including publicly shared battles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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 figure in fashion." A Foray into Curation This determination to be defined narrowly has inspired him outside the industry that built his career. He is now organising a significant 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 evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "Institutions didn't always promote the right artists because they weren't of the traditional credentials," he comments. This project itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a testament to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I believe, 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 regression is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from politics. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will fade." Hope in the Next Generation He draws solace 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 forge a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including publicly shared battles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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 figure in fashion." A Foray into Curation This determination to be defined narrowly has inspired him outside the industry that built his career. He is now organising a significant 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 evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "Institutions didn't always promote the right artists because they weren't of the traditional credentials," he comments. This project itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a testament to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."