🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "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 felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." If Enninful sounds wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol. According to Enninful, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from art. "People with a voice should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass." The Younger Generation's Awareness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." The beginnings of his career would forge a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider." Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to adversity, including well-documented battles with mental health and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced 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 live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all 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 refusal to fit into a box has led him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time. "Institutions often failed to shine a light on the most relevant talents because they weren't of the expected background," he states. This venture itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions. How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "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 felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." If Enninful sounds wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, now a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol. According to Enninful, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from art. "People with a voice should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass." The Younger Generation's Awareness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." The beginnings of his career would forge a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider." Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to adversity, including well-documented battles with mental health and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced 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 live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all 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 refusal to fit into a box has led him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time. "Institutions often failed to shine a light on the most relevant talents because they weren't of the expected background," he states. This venture itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions. How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."