🔗 Share this article Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the Blair era, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature. "Individuals with a platform should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would forge a pioneering career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has involved adversity, including well-documented periods of mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be defined narrowly has propelled him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time. "The establishment often failed to shine a light on the most relevant talents because they weren't of the right pedigree," he observes. This venture itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of pursuing your passions. How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the Blair era, today a different political force appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again. For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from literature. "Individuals with a platform should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will pass." Hope in the Next Generation He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would forge a pioneering career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has involved adversity, including well-documented periods of mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be defined narrowly has propelled him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time. "The establishment often failed to shine a light on the most relevant talents because they weren't of the right pedigree," he observes. This venture itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of pursuing your passions. How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."