🔗 Share this article Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, currently a different political force appears as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol. For Enninful, the antidote has always been to promote 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, featuring a broad spectrum of influential figures from art. "Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end." Hope in the Next Generation He draws solace in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was." Those early experiences would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside." Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of challenges, including well-documented struggles with depression and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has propelled him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time. "Galleries sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of following your instincts. What would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." While Enninful may seem wistful, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This shift is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, currently a different political force appears as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol. For Enninful, the antidote has always been to promote 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, featuring a broad spectrum of influential figures from art. "Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end." Hope in the Next Generation He draws solace in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was." Those early experiences would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside." Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of challenges, including well-documented struggles with depression and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has propelled him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time. "Galleries sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes. The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform." A Testament to Resilience Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of following your instincts. What would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."