🔗 Share this article Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the solution has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from art. "Individuals with a platform should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will end." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was." Those early experiences would forge a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales rose. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including well-documented struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time. "Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he observes. This venture itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful stands as one of the world's most respected creative power brokers. His journey, he feels, is a demonstration to the power of defying expectations. How would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the solution has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from art. "Individuals with a platform should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will end." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was." Those early experiences would forge a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales rose. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including well-documented struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has propelled him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time. "Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he observes. This venture itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful stands as one of the world's most respected creative power brokers. His journey, he feels, is a demonstration to the power of defying expectations. How would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."