🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again. According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from literature. "Individuals with a platform should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this moment will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "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 pioneering career built on fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving 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 everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside." Defying 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 publicly shared struggles with mental health and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. 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 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." A Foray into Curation This determination to fit into a box has propelled him beyond the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time. "Institutions often failed to shine a light on the right artists because they weren't of the traditional credentials," he observes. This venture itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of following your instincts. What would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again. According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from literature. "Individuals with a platform should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this moment will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "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 pioneering career built on fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving 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 everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside." Defying 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 publicly shared struggles with mental health and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. 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 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." A Foray into Curation This determination to fit into a box has propelled him beyond the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time. "Institutions often failed to shine a light on the right artists because they weren't of the traditional credentials," he observes. This venture itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of following your instincts. What would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."