🔗 Share this article Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "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 became Saturday into Sunday. I long for that energy." Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." Shifting Attitudes This change is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the solution has always been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics. "Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks 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 education. That’s the Britain I cherished. I believe this moment will fade." The Younger Generation's Awareness He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would define a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider." Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including publicly shared struggles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. 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 embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has inspired him outside the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "Institutions sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he observes. This venture itself operates on a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of following your instincts. How would the Enninful of that era react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "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 became Saturday into Sunday. I long for that energy." Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." Shifting Attitudes This change is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the solution has always been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics. "Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks 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 education. That’s the Britain I cherished. I believe this moment will fade." The Younger Generation's Awareness He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would define a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider." Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including publicly shared struggles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. 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 embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has inspired him outside the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "Institutions sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he observes. This venture itself operates on a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of following your instincts. How would the Enninful of that era react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."