🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the peak 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 understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music. "Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, 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 harassed under the suspicion laws … this duality gave me a sense of being between worlds." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including well-documented struggles with mental health and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced 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 live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has inspired him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked due recognition at the time. "The establishment often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he observes. The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of following your instincts. What would the Enninful of that era react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the peak 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 understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music. "Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass." The Younger Generation's Awareness He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, 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 harassed under the suspicion laws … this duality gave me a sense of being between worlds." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including well-documented struggles with mental health and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced 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 live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has inspired him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked due recognition at the time. "The establishment often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he observes. The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of following your instincts. What would the Enninful of that era react to the his current self? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."