🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the peak of the Young British Artists – 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 bled into Saturday into Sunday. I long for that rawness." While Enninful may seem sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the late 90s, today a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol. For Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from literature. "Those in a position of influence should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside." Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved challenges, including publicly shared periods of depression and substance use. He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time. "The establishment didn't always celebrate the truly innovative creators because they did not have the right pedigree," he observes. The magazine 72 itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions. How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine. "It was the peak of the Young British Artists – 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 bled into Saturday into Sunday. I long for that rawness." While Enninful may seem sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the late 90s, today a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol. For Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from literature. "Those in a position of influence should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would shape a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside." Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved challenges, including publicly shared periods of depression and substance use. He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time. "The establishment didn't always celebrate the truly innovative creators because they did not have the right pedigree," he observes. The magazine 72 itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions. How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."