🔗 Share this article Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s. A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." Shifting Attitudes This shift is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. For Enninful, the solution has long been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from art. "Individuals with a platform should use it," he comments, discussing those publishing choices. "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 education. That’s the Britain I believed in. I hope this moment will pass." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would define a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has since founded his agency 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 "innovator". "My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider." Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved challenges, including openly discussed struggles with depression and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to 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 scared to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This determination to be defined narrowly has propelled him away from the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time. "Institutions often failed to shine a light on the right artists because they lacked the right pedigree," he states. This venture itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he states, is a testament to the power of following your instincts. What would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. 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 fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."
A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." Shifting Attitudes This shift is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again. For Enninful, the solution has long been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from art. "Individuals with a platform should use it," he comments, discussing those publishing choices. "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 education. That’s the Britain I believed in. I hope this moment will pass." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was." The beginnings of his career would define a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has since founded his agency 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 "innovator". "My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider." Contrary to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved challenges, including openly discussed struggles with depression and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to 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 scared to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This determination to be defined narrowly has propelled him away from the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time. "Institutions often failed to shine a light on the right artists because they lacked the right pedigree," he states. This venture itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he states, is a testament to the power of following your instincts. What would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. 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 fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."