🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "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 long for that spontaneity." Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives 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 Perceived Regression This shift is increasingly evident: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, currently a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol. According to Enninful, the response has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from literature. "Individuals with a platform should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this period will end." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was." The beginnings of his career would define a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent 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 diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew. "When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. Beyond the Magazine World He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge 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, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including publicly shared periods of mental health and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has propelled him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "Galleries didn't always celebrate the most relevant talents because they did not have the traditional credentials," he states. The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of defying expectations. How would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "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 long for that spontaneity." Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives 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 Perceived Regression This shift is increasingly evident: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, currently a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol. According to Enninful, the response has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from literature. "Individuals with a platform should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this period will end." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was." The beginnings of his career would define a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent 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 diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew. "When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises. Beyond the Magazine World He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge 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, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including publicly shared periods of mental health and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has propelled him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "Galleries didn't always celebrate the most relevant talents because they did not have the traditional credentials," he states. The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a testament to the power of defying expectations. How would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."