🔗 Share this article Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the antidote has long been to champion 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, including a broad spectrum of prominent faces from music. "People with a voice should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end." Hope in the Next Generation He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would define a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has since founded 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 "change-maker". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has involved hardship, including publicly shared struggles with mental health and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time. "The establishment often failed to shine a light on the truly innovative creators because they lacked the expected background," he comments. This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he believes, is a testament to the power of defying expectations. What would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the antidote has long been to champion 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, including a broad spectrum of prominent faces from music. "People with a voice should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end." Hope in the Next Generation He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would define a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has since founded 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 "change-maker". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has involved hardship, including publicly shared struggles with mental health and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time. "The establishment often failed to shine a light on the truly innovative creators because they lacked the expected background," he comments. This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he believes, is a testament to the power of defying expectations. What would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."