🔗 Share this article Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." If Enninful sounds wistful, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This change is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the late 90s, today a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. According to Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from music. "People with a voice should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career characterised by fearlessness 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 tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has included its share of hardship, including openly discussed battles with mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid 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 be defined narrowly has propelled him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "Galleries didn't always shine a light on the right artists because they did not have the traditional credentials," he observes. This venture itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions. How would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." If Enninful sounds wistful, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." Shifting Attitudes This change is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the late 90s, today a different political figure looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again. According to Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from music. "People with a voice should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career characterised by fearlessness 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 tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased. "Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective between worlds." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has included its share of hardship, including openly discussed battles with mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid 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 be defined narrowly has propelled him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time. "Galleries didn't always shine a light on the right artists because they did not have the traditional credentials," he observes. This venture itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions. How would the younger Edward think of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."