🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, now a different political force stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol. In Enninful's view, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from politics. "Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds." In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to challenges, including publicly shared struggles with depression and addiction. He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has inspired him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time. "Institutions often failed to promote the most relevant talents because they lacked the expected background," he observes. This venture itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? 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 creative power brokers. His path, he feels, is a proof to the power of defying expectations. What would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, now a different political force stands as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol. In Enninful's view, the antidote has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from politics. "Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was." The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds." In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to challenges, including publicly shared struggles with depression and addiction. He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has inspired him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time. "Institutions often failed to promote the most relevant talents because they lacked the expected background," he observes. This venture itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? 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 creative power brokers. His path, he feels, is a proof to the power of defying expectations. What would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."