🔗 Share this article Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties. A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This regression is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the response has always been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art. "People with a voice should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not 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 end." A New Wave of Consciousness He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was." The beginnings of his career would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds." In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including well-documented battles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, anxious 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 is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has inspired him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "Institutions often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments. This venture itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem." Looking Forward Without Fear Now, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a testament to the power of following your instincts. How would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine. "It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This regression is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the response has always been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from art. "People with a voice should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not 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 end." A New Wave of Consciousness He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was." The beginnings of his career would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose. "When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds." In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including well-documented battles with depression and addiction. He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, anxious 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 is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has inspired him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "Institutions often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments. This venture itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem." Looking Forward Without Fear Now, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a testament to the power of following your instincts. How would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."