🔗 Share this article Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again. According to Enninful, the solution has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from art. "Those in a position of influence should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider." In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including publicly shared battles with depression and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has propelled him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Institutions didn't always promote the right artists because they lacked the expected background," he comments. This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the resurgence of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again. According to Enninful, the solution has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from art. "Those in a position of influence should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider." In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including publicly shared battles with depression and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has propelled him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Institutions didn't always promote the right artists because they lacked the expected background," he comments. This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."