🔗 Share this article Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a different political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the response has always been to champion 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 celebration of modern Britain, including a wide range of cultural icons from literature. "Individuals with a platform should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, 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, an octogenarian, and people from varied communities. Importantly, sales grew. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. Launching a Creative Venture He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, 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 unique perspective between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has not been immune to challenges, including well-documented struggles with mental health and substance use. He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has propelled him beyond the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time. "Institutions didn't always shine a light on the truly innovative creators because they did not have the expected background," he states. This venture itself functions with a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of following your instincts. How would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a different political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the response has always been to champion 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 celebration of modern Britain, including a wide range of cultural icons from literature. "Individuals with a platform should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, 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, an octogenarian, and people from varied communities. Importantly, sales grew. "To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises. Launching a Creative Venture He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, 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 unique perspective between worlds." Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has not been immune to challenges, including well-documented struggles with mental health and substance use. He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has propelled him beyond the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time. "Institutions didn't always shine a light on the truly innovative creators because they did not have the expected background," he states. This venture itself functions with a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Today, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of following your instincts. How would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."