🔗 Share this article Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political force appears as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more. For Enninful, the antidote has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art. "People with a voice should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would forge a pioneering career built on boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales grew. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to challenges, including well-documented struggles with depression and substance use. He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he states. This venture itself operates on a unique business model, forgoing 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." An Unstoppable Drive Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of defying expectations. How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy." If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political force appears as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more. For Enninful, the antidote has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art. "People with a voice should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would forge a pioneering career built on boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales grew. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. Beyond the Magazine World He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to challenges, including well-documented struggles with depression and substance use. He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This determination to fit into a box has inspired him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he states. This venture itself operates on a unique business model, forgoing 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." An Unstoppable Drive Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of defying expectations. How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."