🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the height 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 socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, now a different political personality stands as a possible leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the solution has always been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art. "Those in a position of influence should employ it," he asserts, 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 refuge and an education. That’s the Britain I believed in. I believe this phase will end." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has included its share of adversity, including openly discussed battles with depression and addiction. He has also faced significant 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 comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has propelled him beyond the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "Galleries often failed to promote the most relevant talents because they weren't of the expected background," he comments. This project itself operates on a unique strategy, forgoing 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." An Unstoppable Drive Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."
An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the height 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 socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." If Enninful sounds nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." Shifting Attitudes This shift is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, now a different political personality stands as a possible leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol. In Enninful's view, the solution has always been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art. "Those in a position of influence should employ it," he asserts, 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 refuge and an education. That’s the Britain I believed in. I believe this phase will end." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was." His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has included its share of adversity, including openly discussed battles with depression and addiction. He has also faced significant 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 comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has propelled him beyond the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "Galleries often failed to promote the most relevant talents because they weren't of the expected background," he comments. This project itself operates on a unique strategy, forgoing 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." An Unstoppable Drive Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."