🔗 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 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is increasingly evident: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the Blair era, now a more divisive political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. In Enninful's view, the response has always been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from music. "Those in a position of influence should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will pass." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would define a groundbreaking career marked by boldness and inclusivity. 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 leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where the majority 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 said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has involved challenges, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has propelled him away from the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time. "Galleries didn't always celebrate the most relevant talents because they did not have the expected background," he states. The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Today, Enninful stands as one of the world's most influential cultural influencers. His path, he believes, is a testament to the power of following your instincts. What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is increasingly evident: the resurgence of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the Blair era, now a more divisive political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. In Enninful's view, the response has always been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from music. "Those in a position of influence should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will pass." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." Those early experiences would define a groundbreaking career marked by boldness and inclusivity. 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 leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where the majority 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 said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider." In contrast to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His journey has involved challenges, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has propelled him away from the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time. "Galleries didn't always celebrate the most relevant talents because they did not have the expected background," he states. The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform." An Unstoppable Drive Today, Enninful stands as one of the world's most influential cultural influencers. His path, he believes, is a testament to the power of following your instincts. What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."