🔗 Share this article Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the peak of the YBA movement – 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 kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This change is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. According to Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from literature. "People with a voice should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this phase will pass." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was." Those early experiences would shape a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring 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 recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including openly discussed battles with mental health and substance use. He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be typecast has led him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time. "Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the expected background," he comments. The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the peak of the YBA movement – 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 kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This change is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. According to Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from literature. "People with a voice should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this phase will pass." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was." Those early experiences would shape a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose. "Ignoring 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 recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including openly discussed battles with mental health and substance use. He has also endured significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This determination to be typecast has led him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time. "Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the expected background," he comments. The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."