🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This change is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, today a different political figure looms as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from politics. "People with a voice should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was." Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. 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." Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including openly discussed periods of depression and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 drive to fit into a box has propelled him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "Institutions sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he comments. This project itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of defying expectations. How would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." While Enninful may seem sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This change is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, today a different political figure looms as a possible leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. For Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from politics. "People with a voice should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was." Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. 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." Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including openly discussed periods of depression and substance use. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 drive to fit into a box has propelled him beyond the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "Institutions sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he comments. This project itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of defying expectations. How would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."