🔗 Share this article Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from politics. "Individuals with a platform should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass." The Younger Generation's Awareness He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." Those early experiences would shape a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside." Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has involved challenges, including well-documented battles with depression and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, 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 fashion person." A Foray into Curation This determination to be defined narrowly has inspired him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions often failed to promote the right artists because they weren't of the right pedigree," he observes. This project itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of defying expectations. What would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from politics. "Individuals with a platform should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass." The Younger Generation's Awareness He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." Those early experiences would shape a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose. "When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside." Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has involved challenges, including well-documented battles with depression and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, 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 fashion person." A Foray into Curation This determination to be defined narrowly has inspired him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions often failed to promote the right artists because they weren't of the right pedigree," he observes. This project itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of defying expectations. What would the Enninful of that era make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."