🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor 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 remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a different political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol. According to Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from music. "Those in a position of influence should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will fade." A New Wave of Consciousness He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was." Those early experiences would shape a pioneering career characterised by boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has included its share of challenges, including publicly shared battles with mental health and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 figure in fashion." The Tate Britain Exhibition This drive to fit into a box has inspired him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time. "Galleries didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he comments. This venture itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor 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 remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a different political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol. According to Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from music. "Those in a position of influence should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will fade." A New Wave of Consciousness He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was." Those early experiences would shape a pioneering career characterised by boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has included its share of challenges, including publicly shared battles with mental health and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 figure in fashion." The Tate Britain Exhibition This drive to fit into a box has inspired him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time. "Galleries didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he comments. This venture itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."