🔗 Share this article Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s. An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This regression is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from art. "Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass." Hope in the Next Generation He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved challenges, including well-documented struggles with depression and addiction. He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all 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 determination to be defined narrowly has propelled him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "Galleries often failed to promote the truly innovative creators because they did not have the traditional credentials," he comments. The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a testament to the power of pursuing your passions. How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This regression is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from art. "Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass." Hope in the Next Generation He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved challenges, including well-documented struggles with depression and addiction. He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all 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 determination to be defined narrowly has propelled him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "Galleries often failed to promote the truly innovative creators because they did not have the traditional credentials," he comments. The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a testament to the power of pursuing your passions. How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."