🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Cultural Backslide This regression is difficult to overlook: the growth of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, now a different political personality appears as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again. In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from literature. "People with a voice should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was." Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, 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 states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective 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 life has involved challenges, including publicly shared struggles with depression and substance use. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, 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 fashion person." A Foray into Curation This determination to fit into a box has inspired him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "The establishment often failed to promote the most relevant talents because they weren't of the expected background," he observes. The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "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." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of defying expectations. How would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Cultural Backslide This regression is difficult to overlook: the growth of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, now a different political personality appears as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again. In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from literature. "People with a voice should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was." Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, 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 states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective 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 life has involved challenges, including publicly shared struggles with depression and substance use. He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, 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 fashion person." A Foray into Curation This determination to fit into a box has inspired him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "The establishment often failed to promote the most relevant talents because they weren't of the expected background," he observes. The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "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." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of defying expectations. How would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."