🔗 Share this article Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from art. "Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass." The Younger Generation's Awareness He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." Those early experiences would forge a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to hardship, including openly discussed struggles with mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This determination to be typecast has led him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "Institutions often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he states. This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This change is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol. For Enninful, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from art. "Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass." The Younger Generation's Awareness He takes comfort in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." Those early experiences would forge a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales rose. "When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to hardship, including openly discussed struggles with mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This determination to be typecast has led him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "Institutions often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he states. This venture itself operates on a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."