🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, today a different political figure looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol. According to Enninful, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art. "People with a voice should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will fade." The Younger Generation's Awareness 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 shape a pioneering career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of adversity, including publicly shared periods of depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This drive to fit into a box has propelled him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time. "The establishment sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he observes. This project itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of pursuing your passions. How would the younger Edward react to the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, today a different political figure looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol. According to Enninful, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art. "People with a voice should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will fade." The Younger Generation's Awareness 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 shape a pioneering career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew. "Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises. A New Chapter as a 'Disruptor' He has established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator". "I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of adversity, including publicly shared periods of depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This drive to fit into a box has propelled him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time. "The establishment sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he observes. This project itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of pursuing your passions. How would the younger Edward react to the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."