🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s. A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This shift is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, today a different political personality stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has always been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics. "People with a voice should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will end." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased. "When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has involved hardship, including well-documented periods of depression and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has inspired him away from the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time. "The establishment sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he states. This venture itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This shift is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, today a different political personality stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has always been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics. "People with a voice should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will end." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased. "When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has involved hardship, including well-documented periods of depression and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has inspired him away from the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time. "The establishment sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he states. This venture itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."