🔗 Share this article Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties. A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This shift is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political personality appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from politics. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will end." Hope in the Next Generation He takes comfort in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was." Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented battles with mental health and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear 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 passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has propelled him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time. "Galleries often failed to shine a light on the right artists because they weren't of the expected background," he observes. This venture itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Today, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a testament to the power of pursuing your passions. What would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This shift is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political personality appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more. In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from politics. "Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will end." Hope in the Next Generation He takes comfort in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was." Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being on the inside and the outside." In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented battles with mental health and addiction. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear 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 passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has propelled him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time. "Galleries often failed to shine a light on the right artists because they weren't of the expected background," he observes. This venture itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." An Unstoppable Drive Today, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a testament to the power of pursuing your passions. What would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."