🔗 Share this article Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." Shifting Attitudes This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. For Enninful, the response has long been to promote 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 celebration of modern Britain, including a diverse array of prominent faces from politics. "Individuals with a platform should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will fade." A New Wave of Consciousness He finds hope in the youth of today: "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 groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of hardship, including openly discussed periods of mental health and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This drive to be typecast has inspired him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time. "Institutions sometimes neglected to promote the right artists because they lacked the expected background," he states. This project itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of defying expectations. How would the Enninful of that era 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 would not have believed institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." Shifting Attitudes This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. For Enninful, the response has long been to promote 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 celebration of modern Britain, including a diverse array of prominent faces from politics. "Individuals with a platform should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will fade." A New Wave of Consciousness He finds hope in the youth of today: "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 groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of hardship, including openly discussed periods of mental health and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This drive to be typecast has inspired him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time. "Institutions sometimes neglected to promote the right artists because they lacked the expected background," he states. This project itself functions with a different strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of defying expectations. How would the Enninful of that era 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 would not have believed institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."