🔗 Share this article Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s. An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the zenith 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 felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This shift is hard to ignore: the growth of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, today a different political force looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. For Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from music. "Those in a position of influence should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this period will fade." A New Wave of Consciousness He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside." Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with depression and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has led him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "The establishment often failed to shine a light on the most relevant talents because they did not have the expected background," he comments. This venture itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of pursuing your passions. What would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the zenith 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 felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." Shifting Attitudes This shift is hard to ignore: the growth of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, today a different political force looms as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. For Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from music. "Those in a position of influence should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this period will fade." A New Wave of Consciousness He draws solace in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was." The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside." Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with depression and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." Curating a Cultural Era This refusal to fit into a box has led him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "The establishment often failed to shine a light on the most relevant talents because they did not have the expected background," he comments. This venture itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." Looking Forward Without Fear Today, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of pursuing your passions. What would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me." He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."