🔗 Share this article Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes 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 worldwide." Shifting Attitudes This regression is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, now a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, 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 first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from literature. "People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will end." A New Wave of Consciousness He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would forge a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased. "When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His path has involved hardship, including publicly shared battles with mental health and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared 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 inspired him away from the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time. "Galleries didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he observes. This project itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful believes 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 worldwide." Shifting Attitudes This regression is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, now a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, 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 first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from literature. "People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will end." A New Wave of Consciousness He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would forge a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased. "When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His path has involved hardship, including publicly shared battles with mental health and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared 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 inspired him away from the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time. "Galleries didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he observes. This project itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."