🔗 Share this article Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives 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 Cultural Backslide This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature. "Individuals with a platform should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." Those early experiences would define a pioneering career characterised by boldness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Launching a Creative Venture He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including publicly shared periods of mental health and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be typecast has led him beyond the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time. "Galleries often failed to promote the truly innovative creators because they weren't of the expected background," he comments. This project itself uses a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of defying expectations. How would the younger Edward react to the Edward of today? He chuckles. "He’d be in shock, 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. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives 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 Cultural Backslide This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. According to Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature. "Individuals with a platform should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." Those early experiences would define a pioneering career characterised by boldness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states. Launching a Creative Venture He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside." Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including publicly shared periods of mental health and addiction. He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be typecast has led him beyond the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time. "Galleries often failed to promote the truly innovative creators because they weren't of the expected background," he comments. This project itself uses a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of defying expectations. How would the younger Edward react to the Edward of today? He chuckles. "He’d be in shock, 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. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."