🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more. According to Enninful, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature. "Those in a position of influence should wield it," he comments, referring to 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 home and an opportunity. That’s the Britain I always loved. I trust this period will fade." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was." The beginnings of his career would define a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals 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 commercially unwise," he states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider." Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including publicly shared struggles with mental health and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has inspired him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "The establishment didn't always promote the most relevant talents because they did not have the right pedigree," he states. The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful is regarded 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 Edward of today? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach." He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy." While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Cultural Backslide This regression is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more. According to Enninful, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature. "Those in a position of influence should wield it," he comments, referring to 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 home and an opportunity. That’s the Britain I always loved. I trust this period will fade." The Younger Generation's Awareness He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was." The beginnings of his career would define a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals 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 commercially unwise," he states. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider." Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including publicly shared struggles with mental health and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has inspired him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "The establishment didn't always promote the most relevant talents because they did not have the right pedigree," he states. The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Today, Enninful is regarded 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 Edward of today? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach." He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."