🔗 Share this article The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. For Enninful, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from politics. "Individuals with a platform should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was." Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including well-documented periods of depression and addiction. He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to fit into a box has led him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "The establishment didn't always promote the most relevant talents because they did not have the traditional credentials," he comments. The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of following your instincts. What would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."
A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. For Enninful, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from politics. "Individuals with a platform should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was." Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including well-documented periods of depression and addiction. He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to fit into a box has led him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "The establishment didn't always promote the most relevant talents because they did not have the traditional credentials," he comments. The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of following your instincts. What would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."