🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Perceived Regression This change is increasingly evident: the growth of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political force stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again. For Enninful, the solution has long been to celebrate 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 portrait of modern Britain, featuring a broad spectrum of prominent faces from literature. "People with a voice should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will fade." The Younger Generation's Awareness He draws solace in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was." His formative years would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "change-maker". "I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider." Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved adversity, including openly discussed periods of mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has led him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time. "Galleries didn't always promote the most relevant talents because they lacked the expected background," he observes. This venture itself operates on a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of following your instincts. How would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. 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 came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Perceived Regression This change is increasingly evident: the growth of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political force stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again. For Enninful, the solution has long been to celebrate 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 portrait of modern Britain, featuring a broad spectrum of prominent faces from literature. "People with a voice should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will fade." The Younger Generation's Awareness He draws solace in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was." His formative years would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "change-maker". "I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider." Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved adversity, including openly discussed periods of mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has led him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time. "Galleries didn't always promote the most relevant talents because they lacked the expected background," he observes. This venture itself operates on a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of following your instincts. How would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. 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 came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."