🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is difficult to overlook: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from politics. "Those in a position of influence should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position 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 end." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was." Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside." Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including publicly shared battles with mental health and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all 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 be typecast has propelled him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time. "Institutions often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he states. This project itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the younger Edward make of the man he has become? He laughs heartily. "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 a place for someone like me." He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is difficult to overlook: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from politics. "Those in a position of influence should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position 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 end." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was." Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside." Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including publicly shared battles with mental health and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all 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 be typecast has propelled him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time. "Institutions often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he states. This project itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of following your instincts. How would the younger Edward make of the man he has become? He laughs heartily. "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 a place for someone like me." He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."