🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. In place of the optimism of the Blair era, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature. "Individuals with a platform should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this period will end." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would forge a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker". "I’ve always questioned the established norms. I was raised 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 painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved challenges, including publicly shared battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations 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 like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has propelled him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time. "Galleries didn't always shine a light on the right artists because they weren't of the expected background," he comments. The magazine 72 itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a testament to the power of pursuing your passions. How would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost 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."
A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. In place of the optimism of the Blair era, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature. "Individuals with a platform should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this period will end." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would forge a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker". "I’ve always questioned the established norms. I was raised 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 painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved challenges, including publicly shared battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations 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 like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has propelled him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time. "Galleries didn't always shine a light on the right artists because they weren't of the expected background," he comments. The magazine 72 itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a testament to the power of pursuing your passions. How would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost 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."