🔗 Share this article Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This regression is increasingly evident: the growth of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from politics. "Those in a position of influence should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this phase will fade." A New Wave of Consciousness He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would forge a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises. Launching a Creative Venture He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator". "I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of adversity, including well-documented struggles with mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has led him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time. "Galleries sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he states. This venture itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most respected creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This regression is increasingly evident: the growth of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from politics. "Those in a position of influence should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this phase will fade." A New Wave of Consciousness He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would forge a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises. Launching a Creative Venture He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator". "I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of adversity, including well-documented struggles with mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has led him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time. "Galleries sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he states. This venture itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most respected creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."