🔗 Share this article Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the growth of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. For Enninful, the antidote has consistently been to champion 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 celebration of modern Britain, featuring a diverse array of influential figures from music. "People with a voice should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was." His formative years would define a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased. "Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use. He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to fit into a box has inspired him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time. "The establishment didn't always shine a light on the right artists because they weren't of the expected background," he observes. This project itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy." While Enninful may seem sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the growth of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol. For Enninful, the antidote has consistently been to champion 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 celebration of modern Britain, featuring a diverse array of influential figures from music. "People with a voice should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end." Hope in the Next Generation He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was." His formative years would define a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased. "Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use. He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to fit into a box has inspired him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time. "The establishment didn't always shine a light on the right artists because they weren't of the expected background," he observes. This project itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a testament to the power of pursuing your passions. How would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."