🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "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 pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again. For Enninful, the response has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from politics. "Individuals with a platform should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this moment will end." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a groundbreaking career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented periods of depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has propelled him away from the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time. "Galleries often failed to celebrate the truly innovative creators because they did not have the expected background," he comments. The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of following your instincts. How would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "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 pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again. For Enninful, the response has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from politics. "Individuals with a platform should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this moment will end." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a groundbreaking career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented periods of depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to fit into a box has propelled him away from the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time. "Galleries often failed to celebrate the truly innovative creators because they did not have the expected background," he comments. The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of following your instincts. How would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."