🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds sentimental, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is difficult to overlook: the growth of far-right politics, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more. In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from art. "Those in a position of influence should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will pass." A New Wave of Consciousness He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was." His formative years would forge a trailblazing career marked by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including well-documented periods of depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be defined narrowly has led him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment didn't always shine a light on the most relevant talents because they lacked the right pedigree," he states. This venture itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a proof to the power of defying expectations. What would the younger Edward think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds sentimental, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is difficult to overlook: the growth of far-right politics, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more. In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from art. "Those in a position of influence should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will pass." A New Wave of Consciousness He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was." His formative years would forge a trailblazing career marked by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including well-documented periods of depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be defined narrowly has led him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment didn't always shine a light on the most relevant talents because they lacked the right pedigree," he states. This venture itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a proof to the power of defying expectations. What would the younger Edward think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."