🔗 Share this article Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." While Enninful may seem nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from literature. "Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re not being inclusive – 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 key endeavour since leaving his previous role. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider." Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including openly discussed periods of mental health and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in 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 prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to fit into a box has propelled him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time. "Galleries sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he observes. This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of following your instincts. What would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." While Enninful may seem nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from literature. "Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would shape a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re not being inclusive – 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 key endeavour since leaving his previous role. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider." Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including openly discussed periods of mental health and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in 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 prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to fit into a box has propelled him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time. "Galleries sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he observes. This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of following your instincts. What would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."