🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Perceived Regression This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, now a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. For Enninful, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics. "People with a voice should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this phase will fade." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would define a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to challenges, including well-documented struggles with depression and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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." The Tate Britain Exhibition This refusal to be defined narrowly has propelled him outside the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "The establishment sometimes neglected to promote the most relevant talents because they weren't of the traditional credentials," he observes. The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions. What would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Perceived Regression This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, now a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. For Enninful, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics. "People with a voice should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this phase will fade." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would define a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside." Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to challenges, including well-documented struggles with depression and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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." The Tate Britain Exhibition This refusal to be defined narrowly has propelled him outside the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "The establishment sometimes neglected to promote the most relevant talents because they weren't of the traditional credentials," he observes. The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions. What would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."