🔗 Share this article Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This regression is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political figure looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. According to Enninful, the response has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art. "Individuals with a platform should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will end." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was." Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises. Launching a Creative Venture He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including publicly shared battles with mental health and substance use. He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, anxious 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be defined narrowly has inspired him beyond the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time. "Institutions sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he comments. This project itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Now, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Perceived Regression This regression is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political figure looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. According to Enninful, the response has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art. "Individuals with a platform should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will end." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was." Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises. Launching a Creative Venture He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including publicly shared battles with mental health and substance use. He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, anxious 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be defined narrowly has inspired him beyond the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time. "Institutions sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he comments. This project itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Now, Enninful operates as one of the world's most influential industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions. What would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."