🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. According to Enninful, the solution has consistently been to celebrate culture in all its diversity. 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. "Individuals with a platform should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this period will end." A New Wave of Consciousness He finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was." The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, 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 all walks of life. Significantly, sales increased. "When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His path has involved challenges, including well-documented periods of mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has led him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "Institutions sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he states. This project itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts. What would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure stands as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. According to Enninful, the solution has consistently been to celebrate culture in all its diversity. 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. "Individuals with a platform should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this period will end." A New Wave of Consciousness He finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was." The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, 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 all walks of life. Significantly, sales increased. "When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His path has involved challenges, including well-documented periods of mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has led him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time. "Institutions sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he states. This project itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts. What would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."