🔗 Share this article Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again. For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art. "Those in a position of influence should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will fade." The Younger Generation's Awareness He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would shape a pioneering career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider." Defying the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including publicly shared struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has led him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "The establishment didn't always shine a light on the truly innovative creators because they weren't of the right pedigree," he states. The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a testament to the power of following your instincts. How would the younger Edward make of the man he has become? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again. For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art. "Those in a position of influence should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this moment will fade." The Younger Generation's Awareness He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would shape a pioneering career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. Launching a Creative Venture He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider." Defying the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including publicly shared struggles with mental health and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to be defined narrowly has led him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "The establishment didn't always shine a light on the truly innovative creators because they weren't of the right pedigree," he states. The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a testament to the power of following your instincts. How would the younger Edward make of the man he has become? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."