🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from literature. "People with a voice should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will fade." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a pioneering career characterised by fearlessness and inclusivity. Enninful made history 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 tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased. "Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator". "I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, 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 … this duality gave me a unique perspective on the inside and the outside." In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and exudes calm. His path has included its share of hardship, including publicly shared battles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has propelled him beyond the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time. "Galleries often failed to shine a light on the right artists because they did not have the right pedigree," he states. This project itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a proof to the power of following your instincts. How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from literature. "People with a voice should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will fade." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a pioneering career characterised by fearlessness and inclusivity. Enninful made history 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 tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased. "Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator". "I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, 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 … this duality gave me a unique perspective on the inside and the outside." In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and exudes calm. His path has included its share of hardship, including publicly shared battles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has propelled him beyond the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time. "Galleries often failed to shine a light on the right artists because they did not have the right pedigree," he states. This project itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a proof to the power of following your instincts. How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."