π Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 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 height of the YBA movement β Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood weβd be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy." Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "I feel, weβre less tolerant now than we were in the 90s," he observes. "This isn't just this country β itβs a global phenomenon." A Perceived Regression This change is hard to ignore: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, now a different political force appears as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again. For Enninful, the response has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics. "Individuals with a platform should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an opportunity. Thatβs the Britain I believed in. I believe this period will pass." Hope in the Next Generation He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss systemic issues β I had no concept what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew. "Ignoring vast segments of the population, itβs not just that youβre excluding people β itβs a poor strategy," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the status quo. I was brought up in a place where the majority was Black β the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared Iβd never amount to anything. Me and my brothers were subject to police stops the suspicion laws β¦ this duality gave me a sense of being between worlds." Contrary to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including publicly shared periods of depression and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. Itβs similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, Iβm just going to pursue all that I was so fearful to do. Iβm not going to limit myself to just being an editor or a fashion person." A Foray into Curation This determination to be typecast has inspired him outside the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy β and spotlight those who weren't given due recognition at the time. "Galleries often failed to shine a light on the right artists because they did not have the right pedigree," he observes. The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a proof to the power of pursuing your passions. How would the younger Edward make of the his current self? He chuckles. "Heβd be in shock, but heβd be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once Iβve made up my mind to do something."
A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 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 height of the YBA movement β Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood weβd be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy." Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "I feel, weβre less tolerant now than we were in the 90s," he observes. "This isn't just this country β itβs a global phenomenon." A Perceived Regression This change is hard to ignore: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, now a different political force appears as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again. For Enninful, the response has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics. "Individuals with a platform should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an opportunity. Thatβs the Britain I believed in. I believe this period will pass." Hope in the Next Generation He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss systemic issues β I had no concept what that was." The beginnings of his career would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew. "Ignoring vast segments of the population, itβs not just that youβre excluding people β itβs a poor strategy," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator". "I constantly interrogate the status quo. I was brought up in a place where the majority was Black β the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared Iβd never amount to anything. Me and my brothers were subject to police stops the suspicion laws β¦ this duality gave me a sense of being between worlds." Contrary to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including publicly shared periods of depression and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. Itβs similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, Iβm just going to pursue all that I was so fearful to do. Iβm not going to limit myself to just being an editor or a fashion person." A Foray into Curation This determination to be typecast has inspired him outside the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy β and spotlight those who weren't given due recognition at the time. "Galleries often failed to shine a light on the right artists because they did not have the right pedigree," he observes. The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Now, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a proof to the power of pursuing your passions. How would the younger Edward make of the his current self? He chuckles. "Heβd be in shock, but heβd be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once Iβve made up my mind to do something."