🔗 Share this article Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the rise of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the solution has always been to celebrate 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, showcasing a broad spectrum of prominent faces from politics. "People with a voice should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this moment will end." Hope in the Next Generation He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would forge a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales grew. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. Launching a Creative Venture He has recently launched 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 "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including openly discussed struggles with 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 difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be defined narrowly has inspired him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "Galleries often failed to shine a light on the most relevant talents because they did not have the right pedigree," he comments. This venture itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem." An Unstoppable Drive Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the rise of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the solution has always been to celebrate 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, showcasing a broad spectrum of prominent faces from politics. "People with a voice should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this moment will end." Hope in the Next Generation He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would forge a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales grew. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. Launching a Creative Venture He has recently launched 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 "change-maker". "I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including openly discussed struggles with 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 difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to be defined narrowly has inspired him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "Galleries often failed to shine a light on the most relevant talents because they did not have the right pedigree," he comments. This venture itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem." An Unstoppable Drive Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."