🔗 Share this article Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from music. "People with a voice should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was." His formative years would define a pioneering career marked by fearlessness and representation. Enninful broke barriers 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 time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including well-documented battles with mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified 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 embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has led him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he observes. This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of following your instincts. How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from music. "People with a voice should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this phase will fade." The Younger Generation's Awareness He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was." His formative years would define a pioneering career marked by fearlessness and representation. Enninful broke barriers 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 time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including well-documented battles with mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified 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 embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has led him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he observes. This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of following your instincts. How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."