🔗 Share this article Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s. A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from art. "People with a voice should use it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was." The beginnings of his career would shape a trailblazing career characterised by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in 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 harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside." Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including publicly shared struggles with mental health and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable 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 scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has led him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who lacked due recognition at the time. "The establishment didn't always celebrate the most relevant talents because they did not have the right pedigree," he comments. This project itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of defying expectations. How would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."
A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D. "That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from art. "People with a voice should use it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was." The beginnings of his career would shape a trailblazing career characterised by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in 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 harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside." Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including publicly shared struggles with mental health and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable 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 scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has led him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who lacked due recognition at the time. "The establishment didn't always celebrate the most relevant talents because they did not have the right pedigree," he comments. This project itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of defying expectations. How would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me." He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."