🔗 Share this article Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi 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 nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics. "Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass." Hope in the Next Generation He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased. "When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including publicly shared periods of depression and substance use. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period 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 thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be typecast has inspired him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he observes. The magazine 72 itself functions with a different strategy, rejecting 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 a piece within a broader vision." Looking Forward Without Fear Now, Enninful stands as one of the world's most powerful cultural influencers. His story, he believes, is a proof to the power of pursuing your passions. How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi 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 nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics. "Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass." Hope in the Next Generation He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased. "When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including publicly shared periods of depression and substance use. He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period 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 thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be typecast has inspired him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he observes. The magazine 72 itself functions with a different strategy, rejecting 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 a piece within a broader vision." Looking Forward Without Fear Now, Enninful stands as one of the world's most powerful cultural influencers. His story, he believes, is a proof to the power of pursuing your passions. How would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."