π Share this article Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the peak of the Young British Artists β Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood weβd be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." Although Enninful appears wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels a noticeable regression. "I feel, weβre less accepting now than we were in the 90s," he observes. "The issue extends beyond this country β itβs worldwide." A Cultural Backslide This regression is difficult to overlook: the resurgence of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, now a different political figure stands as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more. For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from music. "Individuals with a platform should employ it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. Thatβs the Britain I cherished. I trust this phase will fade." Hope in the Next Generation He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice β I was not even aware what that was." Those early experiences would define a groundbreaking career built on fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased. "To overlook huge sections of the population, itβs not just that youβre not being inclusive β itβs bad for business," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where the majority was Black β the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said Iβd never amount to anything. Me and my brothers were subject to police stops the Sus laws β¦ all that gave me a sense of being between worlds." In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has involved hardship, including well-documented battles with mental health and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. Itβs comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, Iβm just going to do everything that I was so afraid to do. Iβm not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to be typecast has led him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration β and spotlight those who weren't given due recognition at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he states. The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s react to the his current self? He laughs heartily. "Heβd be in shock, but heβd be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once Iβve decided to do something."
A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the peak of the Young British Artists β Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood weβd be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." Although Enninful appears wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels a noticeable regression. "I feel, weβre less accepting now than we were in the 90s," he observes. "The issue extends beyond this country β itβs worldwide." A Cultural Backslide This regression is difficult to overlook: the resurgence of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, now a different political figure stands as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more. For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from music. "Individuals with a platform should employ it," he says, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. Thatβs the Britain I cherished. I trust this phase will fade." Hope in the Next Generation He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice β I was not even aware what that was." Those early experiences would define a groundbreaking career built on fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased. "To overlook huge sections of the population, itβs not just that youβre not being inclusive β itβs bad for business," he explains. A New Chapter as a 'Disruptor' He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the established norms. I was brought up in a place where the majority was Black β the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said Iβd never amount to anything. Me and my brothers were subject to police stops the Sus laws β¦ all that gave me a sense of being between worlds." In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has involved hardship, including well-documented battles with mental health and substance use. He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. Itβs comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, Iβm just going to do everything that I was so afraid to do. Iβm not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to be typecast has led him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration β and spotlight those who weren't given due recognition at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he states. The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions. How would the Edward of the 90s react to the his current self? He laughs heartily. "Heβd be in shock, but heβd be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once Iβve decided to do something."