🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a different political figure looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from literature. "Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will pass." A New Wave of Consciousness He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds." Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to adversity, including openly discussed periods of depression and addiction. He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "The establishment sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he observes. This project itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Today, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." Shifting Attitudes This regression is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a different political figure looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from literature. "Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will pass." A New Wave of Consciousness He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds." Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to adversity, including openly discussed periods of depression and addiction. He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "The establishment sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he observes. This project itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Today, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach." He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."