🔗 Share this article Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. In Enninful's view, the antidote has long been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from literature. "People with a voice should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was." His formative years would forge a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first male, 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 models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. 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 Sus laws … those experiences gave me a unique perspective on the inside and the outside." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including publicly shared periods of mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has propelled him beyond the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "The establishment often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he states. This venture itself operates on a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of defying expectations. How would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness." If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more. In Enninful's view, the antidote has long been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from literature. "People with a voice should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was." His formative years would forge a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first male, 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 models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Launching a Creative Venture He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. 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 Sus laws … those experiences gave me a unique perspective on the inside and the outside." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including publicly shared periods of mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has propelled him beyond the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "The establishment often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he states. This venture itself operates on a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of defying expectations. How would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."