🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a significant change. "In my view, we’re less tolerant 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 hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. For Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics. "Those in a position of influence should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this phase will end." Hope in the Next Generation He draws solace in the next generation: "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 pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew. "When you ignore large portions 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 new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His path has involved challenges, including well-documented battles with mental health and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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 led him beyond the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states. This venture itself functions with a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he believes, is a testament to the power of pursuing your passions. What would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost 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 decided to do something."
A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a significant change. "In my view, we’re less tolerant 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 hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. For Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics. "Those in a position of influence should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this phase will end." Hope in the Next Generation He draws solace in the next generation: "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 pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew. "When you ignore large portions 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 new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider." In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His path has involved challenges, including well-documented battles with mental health and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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 led him beyond the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states. This venture itself functions with a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision." A Testament to Resilience Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he believes, is a testament to the power of pursuing your passions. What would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost 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 decided to do something."