🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the growth of populist movements, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. For Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from music. "People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will fade." The Younger Generation's Awareness He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has included its share of hardship, including publicly shared battles with depression and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable 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 fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be typecast has inspired him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time. "Galleries often failed to celebrate the most relevant talents because they did not have the expected background," he observes. The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of defying expectations. What would the younger Edward think of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach." He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the growth of populist movements, the pushback against social awareness, and the return of narrow beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. For Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from music. "People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will fade." The Younger Generation's Awareness He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose. "When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator". "I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider." Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has included its share of hardship, including publicly shared battles with depression and addiction. He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable 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 fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be typecast has inspired him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time. "Galleries often failed to celebrate the most relevant talents because they did not have the expected background," he observes. The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of defying expectations. What would the younger Edward think of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach." He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."