🔗 Share this article Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. 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 hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from music. "People with a voice should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will fade." Hope in the Next Generation He finds hope in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider." In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has included its share of adversity, including openly discussed struggles with depression and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be defined narrowly has inspired him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "Galleries didn't always promote the most relevant talents because they did not have the traditional credentials," he comments. This venture itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision." A Testament to Resilience Today, Enninful stands as one of the world's most powerful cultural influencers. His path, he states, is a proof to the power of following your instincts. How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. 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 hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness." Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from music. "People with a voice should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will fade." Hope in the Next Generation He finds hope in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." His formative years would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider." In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has included its share of adversity, including openly discussed struggles with depression and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be defined narrowly has inspired him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time. "Galleries didn't always promote the most relevant talents because they did not have the traditional credentials," he comments. This venture itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision." A Testament to Resilience Today, Enninful stands as one of the world's most powerful cultural influencers. His path, he states, is a proof to the power of following your instincts. How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."