🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness." If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a noticeable regression. "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." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a different political figure appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from music. "Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. 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, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including well-documented battles with depression and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period 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 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." The Tate Britain Exhibition This determination to be typecast has inspired him beyond the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he observes. This project itself functions with a unique approach, rejecting 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 larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of defying expectations. What would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness." If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a noticeable regression. "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." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, currently a different political figure appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from music. "Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will end." The Younger Generation's Awareness He takes comfort in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. 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, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including well-documented battles with depression and substance use. He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period 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 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." The Tate Britain Exhibition This determination to be typecast has inspired him beyond the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he observes. This project itself functions with a unique approach, rejecting 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 larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of defying expectations. What would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."