🔗 Share this article Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Replacing the hope of the late 90s, today a different political personality looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more. For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from politics. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was." His formative years would define a groundbreaking career built on fearlessness and inclusivity. 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 tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider." Defying the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including publicly shared periods of mental health and addiction. He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be typecast has propelled him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time. "Institutions often failed to promote the right artists because they did not have the traditional credentials," he comments. This project itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of following your instincts. How would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Replacing the hope of the late 90s, today a different political personality looms as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more. For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from politics. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was." His formative years would define a groundbreaking career built on fearlessness and inclusivity. 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 tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased. "To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider." Defying the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including publicly shared periods of mental health and addiction. He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be typecast has propelled him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time. "Institutions often failed to promote the right artists because they did not have the traditional credentials," he comments. This project itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of following your instincts. How would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."