🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This change is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the hope of the previous decade, today a different political force stands as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again. In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from music. "Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass." A New Wave of Consciousness He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." His formative years would define a pioneering career built on boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds." In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including publicly shared battles with mental health and substance use. He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to fit into a box has propelled him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "Galleries sometimes neglected to shine a light on the right artists because they did not have the right pedigree," he comments. This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era make of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This change is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the hope of the previous decade, today a different political force stands as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again. In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from music. "Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass." A New Wave of Consciousness He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." His formative years would define a pioneering career built on boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds." In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including publicly shared battles with mental health and substance use. He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to fit into a box has propelled him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "Galleries sometimes neglected to shine a light on the right artists because they did not have the right pedigree," he comments. This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era make of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."