🔗 Share this article Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the rise of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure looms as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol. For Enninful, the response has consistently been to champion 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, including a diverse array of cultural icons from music. "Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass." Hope in the Next Generation He finds hope in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states. Launching a Creative Venture He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has included its share of adversity, including openly discussed periods of mental health and substance use. He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be typecast has inspired him away from 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 evoke the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time. "Galleries didn't always promote the most relevant talents because they lacked the expected background," he comments. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of pursuing your passions. How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the rise of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure looms as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol. For Enninful, the response has consistently been to champion 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, including a diverse array of cultural icons from music. "Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass." Hope in the Next Generation He finds hope in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states. Launching a Creative Venture He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has included its share of adversity, including openly discussed periods of mental health and substance use. He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be typecast has inspired him away from 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 evoke the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time. "Galleries didn't always promote the most relevant talents because they lacked the expected background," he comments. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision." Looking Forward Without Fear Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of pursuing your passions. How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."