🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This change is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the Blair era, now a more divisive political force looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from music. "Those in a position of influence should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will pass." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including publicly shared struggles with mental health and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be typecast has propelled him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time. "The establishment often failed to promote the right artists because they did not have the expected background," he comments. This venture itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful operates as one of the world's most powerful cultural influencers. His path, he feels, is a testament to the power of following your instincts. How would the younger Edward make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."
A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This change is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the Blair era, now a more divisive political force looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from music. "Those in a position of influence should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will pass." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including publicly shared struggles with mental health and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be typecast has propelled him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time. "The establishment often failed to promote the right artists because they did not have the expected background," he comments. This venture itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful operates as one of the world's most powerful cultural influencers. His path, he feels, is a testament to the power of following your instincts. How would the younger Edward make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."