🔗 Share this article Edward Enninful reflects on 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 young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This change is difficult to overlook: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, now a more divisive political force stands as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has long been to promote 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 celebration of modern Britain, featuring a broad spectrum of cultural icons from literature. "Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this moment will pass." A New Wave of Consciousness He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." Those early experiences would forge a pioneering career marked by boldness and representation. 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 historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose. "To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including well-documented battles with mental health and addiction. He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has led him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time. "The establishment didn't always promote the truly innovative creators because they did not have the traditional credentials," he comments. This project itself functions with a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." A Testament to Resilience Today, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a proof to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This change is difficult to overlook: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, now a more divisive political force stands as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol. In Enninful's view, the solution has long been to promote 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 celebration of modern Britain, featuring a broad spectrum of cultural icons from literature. "Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this moment will pass." A New Wave of Consciousness He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." Those early experiences would forge a pioneering career marked by boldness and representation. 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 historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose. "To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. Beyond the Magazine World He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including well-documented battles with mental health and addiction. He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be defined narrowly has led him outside the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time. "The establishment didn't always promote the truly innovative creators because they did not have the traditional credentials," he comments. This project itself functions with a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." A Testament to Resilience Today, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a proof to the power of pursuing your passions. How would the Enninful of that era react to the man he has become? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."