🔗 Share this article Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. For Enninful, the antidote has always been to promote 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, showcasing a diverse array of cultural icons from politics. "Individuals with a platform should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this period will end." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would shape a groundbreaking career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of adversity, including well-documented battles with depression and addiction. He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him outside the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "Galleries didn't always promote the most relevant talents because they weren't of the expected background," he observes. This venture itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a testament to the power of following your instincts. How would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This regression is difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a different political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. For Enninful, the antidote has always been to promote 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, showcasing a diverse array of cultural icons from politics. "Individuals with a platform should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this period will end." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would shape a groundbreaking career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of adversity, including well-documented battles with depression and addiction. He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him outside the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "Galleries didn't always promote the most relevant talents because they weren't of the expected background," he observes. This venture itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a testament to the power of following your instincts. How would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."