🔗 Share this article Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, now a different political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from literature. "People with a voice should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would shape a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed battles with mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear 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 passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time. "The establishment didn't always promote the truly innovative creators because they lacked the right pedigree," he comments. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." A Testament to Resilience Now, Enninful operates as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of defying expectations. What would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."
A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. Replacing the hope of the late 90s, now a different political personality looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again. For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from literature. "People with a voice should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would shape a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose. "When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed battles with mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear 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 passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has inspired him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time. "The establishment didn't always promote the truly innovative creators because they lacked the right pedigree," he comments. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision." A Testament to Resilience Now, Enninful operates as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of defying expectations. What would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."