🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s. An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more. According to Enninful, the solution has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from literature. "Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would define a groundbreaking career built on boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of adversity, including publicly shared struggles with depression and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be defined narrowly has led him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time. "Galleries often failed to promote the truly innovative creators because they weren't of the expected background," he observes. The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of defying expectations. What would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He reflects. "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 I am unstoppable once I’ve set my intention to do something."
An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more. According to Enninful, the solution has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from literature. "Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end." Hope in the Next Generation He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was." Those early experiences would define a groundbreaking career built on boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew. "When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of adversity, including publicly shared struggles with depression and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to be defined narrowly has led him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time. "Galleries often failed to promote the truly innovative creators because they weren't of the expected background," he observes. The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of defying expectations. What would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He reflects. "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 I am unstoppable once I’ve set my intention to do something."