🔗 Share this article Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This regression is hard to ignore: the growth of populist movements, the reaction against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. According to Enninful, the antidote has always been to promote culture in all its variety. 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 influential figures from art. "Individuals with a platform should wield it," he says, 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 did not offer 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 draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was." Those early experiences would define a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew. "Ignoring vast segments of the population, it’s more than 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 first major project 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 brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including openly discussed battles with mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments. This venture itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a testament to the power of pursuing your passions. What would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. 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 during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This regression is hard to ignore: the growth of populist movements, the reaction against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. According to Enninful, the antidote has always been to promote culture in all its variety. 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 influential figures from art. "Individuals with a platform should wield it," he says, 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 did not offer 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 draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was." Those early experiences would define a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew. "Ignoring vast segments of the population, it’s more than 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 first major project 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 brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including openly discussed battles with mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be typecast has inspired him outside the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments. This venture itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he believes, is a testament to the power of pursuing your passions. What would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."