🔗 Share this article Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. In Enninful's view, the solution has long 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 celebration of modern Britain, showcasing a wide range of cultural icons from music. "Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will end." The Younger Generation's Awareness He finds hope in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." Those early experiences would shape a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved adversity, including well-documented struggles with mental health and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious 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 pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This determination to fit into a box has inspired him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the expected background," he comments. This venture itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts. What would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. In Enninful's view, the solution has long 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 celebration of modern Britain, showcasing a wide range of cultural icons from music. "Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will end." The Younger Generation's Awareness He finds hope in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." Those early experiences would shape a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales increased. "Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved adversity, including well-documented struggles with mental health and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious 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 pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This determination to fit into a box has inspired him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the expected background," he comments. This venture itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a broader vision." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts. What would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."