🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This change is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from art. "Those in a position of influence should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will fade." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would shape a pioneering career characterised by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider." In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to hardship, including well-documented struggles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to fit into a box has inspired him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time. "The establishment often failed to promote the most relevant talents because they lacked the expected background," he states. This venture itself functions with a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." An Unstoppable Drive Currently, Enninful stands as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of pursuing your passions. How would the younger Edward react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This change is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more. According to Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from art. "Those in a position of influence should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will fade." A New Wave of Consciousness He draws solace in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was." The beginnings of his career would shape a pioneering career characterised by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider." In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to hardship, including well-documented struggles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This drive to fit into a box has inspired him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time. "The establishment often failed to promote the most relevant talents because they lacked the expected background," he states. This venture itself functions with a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." An Unstoppable Drive Currently, Enninful stands as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of pursuing your passions. How would the younger Edward react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."