🔗 Share this article Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the growth of populist movements, the backlash against social awareness, and the return of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol. For Enninful, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his landmark 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. "People with a voice should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was." Those early experiences would define a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor". "I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including openly discussed periods of mental health and substance use. He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like 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 restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to fit into a box has propelled him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time. "Galleries didn't always promote the most relevant talents because they weren't of the traditional credentials," he comments. This project itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." A Testament to Resilience Currently, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."
A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This shift is increasingly evident: the growth of populist movements, the backlash against social awareness, and the return of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol. For Enninful, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his landmark 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. "People with a voice should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was." Those early experiences would define a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor". "I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including openly discussed periods of mental health and substance use. He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like 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 restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to fit into a box has propelled him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time. "Galleries didn't always promote the most relevant talents because they weren't of the traditional credentials," he comments. This project itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." A Testament to Resilience Currently, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."