🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the rise of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again. According to Enninful, the antidote has consistently been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from art. "Individuals with a platform should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will end." The Younger Generation's Awareness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was." His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented periods of mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "Institutions didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he comments. This venture itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Today, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a testament to the power of defying expectations. How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. 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 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the rise of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again. According to Enninful, the antidote has consistently been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from art. "Individuals with a platform should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will end." The Younger Generation's Awareness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was." His formative years would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including well-documented periods of mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "Institutions didn't always celebrate the truly innovative creators because they lacked the traditional credentials," he comments. This venture itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Today, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a testament to the power of defying expectations. How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."