🔗 Share this article Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the height of the Britart scene – 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 kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political figure looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again. According to Enninful, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from literature. "People with a voice should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will fade." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would shape a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including publicly shared periods of mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has propelled him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time. "Institutions often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he states. This project itself operates on a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of defying expectations. How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the height of the Britart scene – 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 kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This regression is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political figure looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again. According to Enninful, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from literature. "People with a voice should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will fade." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would shape a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including publicly shared periods of mental health and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has propelled him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time. "Institutions often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he states. This project itself operates on a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of defying expectations. How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."