🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the solution has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music. "Individuals with a platform should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade." The Younger Generation's Awareness He takes comfort in the younger 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 define a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, 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 Sus laws … this duality gave me a sense of being on the inside and the outside." In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has involved adversity, including well-documented struggles with mental health and substance use. He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has propelled him outside the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the expected background," he observes. This project itself uses a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of following your instincts. What would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."
A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political force looms as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the solution has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music. "Individuals with a platform should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade." The Younger Generation's Awareness He takes comfort in the younger 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 define a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, 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 Sus laws … this duality gave me a sense of being on the inside and the outside." In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has involved adversity, including well-documented struggles with mental health and substance use. He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has propelled him outside the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the expected background," he observes. This project itself uses a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of following your instincts. What would the Enninful of that era make of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."