🔗 Share this article Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more. For Enninful, the response has always been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art. "Those in a position of influence should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe 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 unconscious bias – I was not even aware what that was." Those early experiences would shape a pioneering career built on boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider." Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including well-documented battles with depression and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This determination to fit into a box has led him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time. "The establishment sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he observes. The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era think of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach." He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more. For Enninful, the response has always been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art. "Those in a position of influence should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe 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 unconscious bias – I was not even aware what that was." Those early experiences would shape a pioneering career built on boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider." Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including well-documented battles with depression and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This determination to fit into a box has led him beyond the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time. "The establishment sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he observes. The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era think of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach." He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."