🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving 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 – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This change is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, now a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again. In Enninful's view, the response has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from art. "Individuals with a platform should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was 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 period will end." A New Wave of Consciousness He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." Those early experiences would define a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew. "To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider." Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved adversity, including openly discussed periods of depression and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, 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 ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time. "Institutions sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he states. The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of following your instincts. How would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving 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 – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide." A Cultural Backslide This change is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, now a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again. In Enninful's view, the response has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from art. "Individuals with a platform should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was 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 period will end." A New Wave of Consciousness He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." Those early experiences would define a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew. "To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider." Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved adversity, including openly discussed periods of depression and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, 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 ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time. "Institutions sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he states. The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of following your instincts. How would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."