🔗 Share this article Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the return of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music. "People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would forge a pioneering career marked by fearlessness and representation. Enninful set a precedent 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 diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states. Launching a Creative Venture He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including publicly shared periods of mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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." Curating a Cultural Era This drive to be typecast has propelled him away from the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who lacked due recognition at the time. "Galleries sometimes neglected to promote the right artists because they did not have the expected background," he observes. This venture itself uses a different strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we fled our country. I almost 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."
An unexpected discovery on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy." Although Enninful appears wistful, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the return of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music. "People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will pass." Hope in the Next Generation He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would forge a pioneering career marked by fearlessness and representation. Enninful set a precedent 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 diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states. Launching a Creative Venture He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator". "I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including publicly shared periods of mental health and substance use. He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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." Curating a Cultural Era This drive to be typecast has propelled him away from the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who lacked due recognition at the time. "Galleries sometimes neglected to promote the right artists because they did not have the expected background," he observes. This venture itself uses a different strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "Gratitude is key. We were displaced, we fled our country. I almost 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."