🔗 Share this article Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the peak of the Young British Artists – 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 long for that energy." If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a different political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from music. "People with a voice should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including well-documented battles with depression and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has propelled him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time. "Galleries didn't always celebrate the right artists because they weren't of the right pedigree," he comments. This venture itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."
A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the peak of the Young British Artists – 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 long for that energy." If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This regression is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the return of traditional beauty standards. In place of the optimism of the previous decade, now a different political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from music. "People with a voice should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "change-maker". "My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including well-documented battles with depression and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be defined narrowly has propelled him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time. "Galleries didn't always celebrate the right artists because they weren't of the right pedigree," he comments. This venture itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Currently, Enninful operates as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts. What would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."