🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Perceived Regression This regression is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more. According to Enninful, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from music. "Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will pass." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was." His formative years would shape a trailblazing career built on fearlessness and representation. Enninful made history 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 landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside." Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has involved challenges, including openly discussed struggles with mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has led him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time. "The establishment often failed to celebrate the truly innovative creators because they lacked the right pedigree," he observes. This venture itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of following your instincts. How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."
A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Perceived Regression This regression is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more. According to Enninful, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from music. "Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will pass." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was." His formative years would shape a trailblazing career built on fearlessness and representation. Enninful made history 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 landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside." Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has involved challenges, including openly discussed struggles with mental health and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has led him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time. "The establishment often failed to celebrate the truly innovative creators because they lacked the right pedigree," he observes. This venture itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of following your instincts. How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."