🔗 Share this article Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, 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 states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This shift is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from art. "People with a voice should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this period will pass." Hope in the Next Generation He draws solace 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 diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider." In contrast to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including well-documented struggles with depression and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, 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 confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be defined narrowly has led him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "Institutions often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he comments. This venture itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions. How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, 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 states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon." A Perceived Regression This shift is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol. According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from art. "People with a voice should wield it," he comments, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this period will pass." Hope in the Next Generation He draws solace 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 diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider." In contrast to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including well-documented struggles with depression and addiction. He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, 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 confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be defined narrowly has led him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time. "Institutions often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he comments. This venture itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions. How would the younger Edward react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."