🔗 Share this article Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s. A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the response has long been to celebrate culture in all its variety. 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 broad spectrum of cultural icons from literature. "People with a voice should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end." Hope in the Next Generation He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would define a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has not been immune to adversity, including openly discussed struggles with depression and addiction. He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has propelled him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time. "The establishment didn't always promote the truly innovative creators because they weren't of the expected background," he states. This venture itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions. What would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the response has long been to celebrate culture in all its variety. 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 broad spectrum of cultural icons from literature. "People with a voice should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end." Hope in the Next Generation He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would define a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew. "Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has not been immune to adversity, including openly discussed struggles with depression and addiction. He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has propelled him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who lacked a spotlight at the time. "The establishment didn't always promote the truly innovative creators because they weren't of the expected background," he states. This venture itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions. What would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."