🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out 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 fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the response has long been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from music. "Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this moment will fade." Hope in the Next Generation He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was." The beginnings of his career would shape a groundbreaking career built on fearlessness and representation. 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 time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including openly discussed battles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has inspired him outside the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "The establishment often failed to promote the truly innovative creators because they lacked the right pedigree," he states. This project itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions. What would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out 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 fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the response has long been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from music. "Those in a position of influence should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this moment will fade." Hope in the Next Generation He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was." The beginnings of his career would shape a groundbreaking career built on fearlessness and representation. 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 time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including openly discussed battles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has inspired him outside the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time. "The establishment often failed to promote the truly innovative creators because they lacked the right pedigree," he states. This project itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions. What would the Edward of the 90s make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."