🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This change is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, currently a different political force stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the response has consistently been to champion 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 portrait of modern Britain, showcasing a diverse array of influential figures from art. "People with a voice should employ it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was." The beginnings of his career would define a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has included its share of challenges, including publicly shared periods of mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be typecast has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "Institutions didn't always celebrate the most relevant talents because they weren't of the expected background," he states. This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a proof to the power of pursuing your passions. How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."
An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This change is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, currently a different political force stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the response has consistently been to champion 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 portrait of modern Britain, showcasing a diverse array of influential figures from art. "People with a voice should employ it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was." The beginnings of his career would define a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has included its share of challenges, including publicly shared periods of mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be typecast has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "Institutions didn't always celebrate the most relevant talents because they weren't of the expected background," he states. This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a proof to the power of pursuing your passions. How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."