🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a different political force looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art. "Those in a position of influence should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would define a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his key endeavour 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 born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider." In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His path has involved hardship, including publicly shared periods of depression and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all 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 fit into a box has propelled him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he states. This project itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of following your instincts. What would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a different political force looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art. "Those in a position of influence should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will end." The Younger Generation's Awareness He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would define a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his key endeavour 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 born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider." In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His path has involved hardship, including publicly shared periods of depression and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all 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 fit into a box has propelled him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he states. This project itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of following your instincts. What would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."