🔗 Share this article Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, 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 i-D magazine. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This shift is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics. "People with a voice should wield it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was." His formative years would shape a pioneering career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds." Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including publicly shared struggles with depression and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, fearing 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 is over, 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 drive to be typecast has inspired him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time. "Galleries sometimes neglected to celebrate the truly innovative creators because they did not have the traditional credentials," he comments. This venture itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions. What would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated 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 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, 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 i-D magazine. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This shift is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. According to Enninful, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from politics. "People with a voice should wield it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was." His formative years would shape a pioneering career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds." Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including publicly shared struggles with depression and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, fearing 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 is over, 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 drive to be typecast has inspired him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time. "Galleries sometimes neglected to celebrate the truly innovative creators because they did not have the traditional credentials," he comments. This venture itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of pursuing your passions. What would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."