🔗 Share this article Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties. A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the resurgence of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more. According to Enninful, the antidote has consistently been to celebrate 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 portrait of modern Britain, showcasing a broad spectrum of prominent faces from music. "Individuals with a platform should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." The beginnings of his career would shape a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including publicly shared battles with mental health and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time. "The establishment sometimes neglected to celebrate the right artists because they lacked the right pedigree," he states. This venture itself operates on a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of following your instincts. How would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy." Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the resurgence of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more. According to Enninful, the antidote has consistently been to celebrate 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 portrait of modern Britain, showcasing a broad spectrum of prominent faces from music. "Individuals with a platform should wield it," he comments, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." The beginnings of his career would shape a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to challenges, including publicly shared battles with mental health and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time. "The establishment sometimes neglected to celebrate the right artists because they lacked the right pedigree," he states. This venture itself operates on a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of following your instincts. How would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."