🔗 Share this article Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. For Enninful, the antidote has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from politics. "Those in a position of influence should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass." The Younger Generation's Awareness He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." His formative years would define a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider." Defying the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has included its share of hardship, including well-documented periods of depression and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, fearing 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 do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has propelled him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he comments. This venture itself functions with a different business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations. What would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more. For Enninful, the antidote has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from politics. "Those in a position of influence should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass." The Younger Generation's Awareness He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." His formative years would define a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider." Defying the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has included its share of hardship, including well-documented periods of depression and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, fearing 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 do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to fit into a box has propelled him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he comments. This venture itself functions with a different business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations. What would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."