🔗 Share this article Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "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 spontaneity." If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political personality looms as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again. In Enninful's view, the antidote has always been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from literature. "Those in a position of influence should employ it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass." A New Wave of Consciousness He finds hope in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was." Those early experiences would shape a trailblazing career built on boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator". "My nature is to challenge 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, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider." Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to challenges, including openly discussed battles with depression and substance use. He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to fit into a box has inspired him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time. "The establishment often failed to shine a light on the right artists because they lacked the right pedigree," he states. This project itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "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 spontaneity." If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political personality looms as a possible leader. Even, the British flag, once an symbol of national pride, has become contentious again. In Enninful's view, the antidote has always been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from literature. "Those in a position of influence should employ it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass." A New Wave of Consciousness He finds hope in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was." Those early experiences would shape a trailblazing career built on boldness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator". "My nature is to challenge 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, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider." Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to challenges, including openly discussed battles with depression and substance use. He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to fit into a box has inspired him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time. "The establishment often failed to shine a light on the right artists because they lacked the right pedigree," he states. This project itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."