🔗 Share this article Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Perceived Regression This regression is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the solution has consistently 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 portrait of modern Britain, including a diverse array of cultural icons from music. "People with a voice should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was." The beginnings of his career would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states. Launching a Creative Venture He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside." In contrast to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including well-documented periods of depression and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured 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 passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to fit into a box has inspired him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions often failed to shine a light on the most relevant talents because they did not have the right pedigree," he states. The magazine 72 itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of following your instincts. What would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Perceived Regression This regression is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the solution has consistently 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 portrait of modern Britain, including a diverse array of cultural icons from music. "People with a voice should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was." The beginnings of his career would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states. Launching a Creative Venture He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside." In contrast to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including well-documented periods of depression and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured 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 passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to fit into a box has inspired him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "Institutions often failed to shine a light on the most relevant talents because they did not have the right pedigree," he states. The magazine 72 itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of following your instincts. What would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."