🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This regression is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. For Enninful, the response has long been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art. "Individuals with a platform should use it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has recently launched 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 Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside." Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has involved hardship, including well-documented struggles with mental health and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 drive to fit into a box has propelled him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment didn't always shine a light on the right artists because they did not have the traditional credentials," he comments. This venture itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts. What would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me 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 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This regression is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. For Enninful, the response has long been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art. "Individuals with a platform should use it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew. "Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has recently launched 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 Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside." Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has involved hardship, including well-documented struggles with mental health and substance use. He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 drive to fit into a box has propelled him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment didn't always shine a light on the right artists because they did not have the traditional credentials," he comments. This venture itself uses a unique approach, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts. What would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."