🔗 Share this article Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met 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 bled into Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the Blair era, now a different political force appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol. According to Enninful, 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 diverse array of influential figures from literature. "Individuals with a platform should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator". "I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. 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 sense of being between worlds." Defying the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with depression and substance use. He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has led him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "Institutions often failed to promote the right artists because they lacked the traditional credentials," he states. This venture itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions. How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me 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 newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met 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 bled into Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the Blair era, now a different political force appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol. According to Enninful, 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 diverse array of influential figures from literature. "Individuals with a platform should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." The beginnings of his career would forge a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator". "I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. 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 sense of being between worlds." Defying the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with depression and substance use. He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has led him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "Institutions often failed to promote the right artists because they lacked the traditional credentials," he states. This venture itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions. How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."