π Share this article Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s. An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the height of the Young British Artists β Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt weβd be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I feel, weβre less accepting now than we were in the 90s," he observes. "The issue extends beyond this country β itβs worldwide." A Perceived Regression This change is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again. For Enninful, the antidote has long been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from art. "Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. Thatβs the Britain I believed in. I hope this moment will end." The Younger Generation's Awareness He draws solace in the youth of today: "Theyβre much more aware than we were. They discuss systemic issues β I didn't even know what that was." The beginnings of his career would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "When you ignore vast segments of the population, itβs more than that youβre not being inclusive β itβs a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm β the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted Iβd achieve nothing. Me and my brothers were subject to police stops the suspicion laws β¦ this duality gave me a dual identity on the inside and the outside." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including openly discussed struggles with depression and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. Itβs comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, Iβm just going to do everything that I was so afraid to do. Iβm not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be typecast has propelled him outside the realm that established him. He is now putting together a seminal 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 evoke the decade's artistic collaboration β and highlight those who did not receive adequate attention at the time. "Institutions often failed to celebrate the most relevant talents because they lacked the right pedigree," he states. This venture itself uses a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a proof to the power of defying expectations. What would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but heβd be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once Iβve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the height of the Young British Artists β Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt weβd be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I feel, weβre less accepting now than we were in the 90s," he observes. "The issue extends beyond this country β itβs worldwide." A Perceived Regression This change is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again. For Enninful, the antidote has long been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from art. "Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. Thatβs the Britain I believed in. I hope this moment will end." The Younger Generation's Awareness He draws solace in the youth of today: "Theyβre much more aware than we were. They discuss systemic issues β I didn't even know what that was." The beginnings of his career would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "When you ignore vast segments of the population, itβs more than that youβre not being inclusive β itβs a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator". "My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm β the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted Iβd achieve nothing. Me and my brothers were subject to police stops the suspicion laws β¦ this duality gave me a dual identity on the inside and the outside." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including openly discussed struggles with depression and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. Itβs comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, Iβm just going to do everything that I was so afraid to do. Iβm not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be typecast has propelled him outside the realm that established him. He is now putting together a seminal 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 evoke the decade's artistic collaboration β and highlight those who did not receive adequate attention at the time. "Institutions often failed to celebrate the most relevant talents because they lacked the right pedigree," he states. This venture itself uses a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a proof to the power of defying expectations. What would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but heβd be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once Iβve made up my mind to do something."