🔗 Share this article Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "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 yearn for that rawness." While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This change is difficult to overlook: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, currently a different political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol. According to Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from music. "People with a voice should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass." A New Wave of Consciousness He draws solace in the next generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was." His formative years would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose. "Ignoring large portions 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 since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – 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 never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with mental health and substance use. He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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." The Tate Britain Exhibition This determination to be typecast has inspired him beyond the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they did not have the expected background," he observes. The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions. What would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."
A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "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 yearn for that rawness." While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." A Cultural Backslide This change is difficult to overlook: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, currently a different political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol. According to Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from music. "People with a voice should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass." A New Wave of Consciousness He draws solace in the next generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was." His formative years would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose. "Ignoring large portions 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 since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – 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 never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including well-documented struggles with mental health and substance use. He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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." The Tate Britain Exhibition This determination to be typecast has inspired him beyond the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they did not have the expected background," he observes. The magazine 72 itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision." An Unstoppable Drive Today, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions. What would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."