🔗 Share this article Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. 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 became Saturday into Sunday. I long for that rawness." Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This regression is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again. For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music. "Individuals with a platform should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." The beginnings of his career would define a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds." Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His path has included its share of adversity, including well-documented periods of mental health and substance use. He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, fearing 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has propelled him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Institutions didn't always celebrate the truly innovative creators because they did not have the expected background," he comments. This project itself operates on a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of pursuing your passions. How would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. 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 became Saturday into Sunday. I long for that rawness." Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This regression is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again. For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music. "Individuals with a platform should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was." The beginnings of his career would define a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds." Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His path has included its share of adversity, including well-documented periods of mental health and substance use. He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, fearing 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has propelled him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time. "Institutions didn't always celebrate the truly innovative creators because they did not have the expected background," he comments. This project itself operates on a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of pursuing your passions. How would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."