🔗 Share this article The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time 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 understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the return of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the antidote has always been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music. "Those in a position of influence should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds." In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including well-documented periods of mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. 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 restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to fit into a box has inspired him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time. "Galleries didn't always celebrate the truly innovative creators because they lacked the expected background," he observes. The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of pursuing your passions. How would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. 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. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing 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."
A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time 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 understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the return of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political personality stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the antidote has always been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music. "Those in a position of influence should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds." In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including well-documented periods of mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. 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 restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to fit into a box has inspired him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time. "Galleries didn't always celebrate the truly innovative creators because they lacked the expected background," he observes. The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of pursuing your passions. How would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. 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. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing 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."