🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from politics. "Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end." Hope in the Next Generation He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose. "When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has included its share of challenges, including openly discussed struggles with mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be typecast has led him beyond the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time. "Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he comments. The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of defying expectations. What would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from politics. "Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end." Hope in the Next Generation He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was." The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose. "When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has included its share of challenges, including openly discussed struggles with mental health and substance use. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be typecast has led him beyond the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time. "Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he comments. The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision." A Testament to Resilience Now, Enninful operates as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of defying expectations. What would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."