🔗 Share this article Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, currently a different political personality looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again. For Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from art. "Those in a position of influence should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will pass." Hope in the Next Generation He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." The beginnings of his career would shape a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has included its share of challenges, including openly discussed periods of mental health and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, 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 defined narrowly has propelled him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time. "Institutions often failed to promote the truly innovative creators because they lacked the expected background," he comments. The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts. What would the Edward of the 90s react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, currently a different political personality looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again. For Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from art. "Those in a position of influence should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will pass." Hope in the Next Generation He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." The beginnings of his career would shape a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has included its share of challenges, including openly discussed periods of mental health and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, 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 defined narrowly has propelled him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time. "Institutions often failed to promote the truly innovative creators because they lacked the expected background," he comments. The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts. What would the Edward of the 90s react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."