🔗 Share this article Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties. A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, today a different political force stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. For Enninful, the antidote has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from politics. "Those in a position of influence should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end." A New Wave of Consciousness He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was." His formative years would forge a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has involved hardship, including well-documented struggles with depression and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has led him away from the world that made his name. He is now putting together 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 evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "Institutions didn't always shine a light on the truly innovative creators because they lacked the expected background," he observes. This project itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Now, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of defying expectations. What would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, today a different political force stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. For Enninful, the antidote has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from politics. "Those in a position of influence should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end." A New Wave of Consciousness He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was." His formative years would forge a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator". "My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has involved hardship, including well-documented struggles with depression and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has led him away from the world that made his name. He is now putting together 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 evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "Institutions didn't always shine a light on the truly innovative creators because they lacked the expected background," he observes. This project itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Now, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of defying expectations. What would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."