🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Perceived Regression This change is difficult to overlook: the growth of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, today a different political force looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from politics. "Individuals with a platform should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will end." The Younger Generation's Awareness 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 forge a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew. "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 recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider." In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to hardship, including well-documented struggles with mental health and addiction. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has propelled him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "Galleries didn't always promote the truly innovative creators because they did not have the traditional credentials," he observes. The magazine 72 itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a demonstration to the power of defying expectations. What would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Perceived Regression This change is difficult to overlook: the growth of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, today a different political force looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more. For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from politics. "Individuals with a platform should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will end." The Younger Generation's Awareness 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 forge a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew. "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 recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider." In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to hardship, including well-documented struggles with mental health and addiction. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has propelled him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "Galleries didn't always promote the truly innovative creators because they did not have the traditional credentials," he observes. The magazine 72 itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a demonstration to the power of defying expectations. What would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."