🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a significant change. "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 resurgence of far-right politics, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art. "People with a voice should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will fade." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would define a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has included its share of challenges, including publicly shared struggles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place 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 prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to fit into a box has inspired him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time. "Galleries sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he states. This venture itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of following your instincts. What would the Enninful of that era make of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a significant change. "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 resurgence of far-right politics, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art. "People with a voice should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will fade." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would define a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has included its share of challenges, including publicly shared struggles with mental health and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place 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 prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to fit into a box has inspired him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time. "Galleries sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he states. This venture itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of following your instincts. What would the Enninful of that era make of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."