🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." Although Enninful appears sentimental, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political figure stands as a potential leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art. "Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was." His formative years would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including publicly shared struggles with mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, 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." The Tate Britain Exhibition This drive to fit into a box has propelled him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time. "The establishment didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he states. This venture itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of pursuing your passions. How would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." Although Enninful appears sentimental, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political figure stands as a potential leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art. "Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was." His formative years would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including publicly shared struggles with mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, 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." The Tate Britain Exhibition This drive to fit into a box has propelled him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time. "The establishment didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he states. This venture itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of pursuing your passions. How would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."