🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy." Although Enninful appears sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol. In Enninful's view, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music. "People with a voice should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will pass." A New Wave of Consciousness He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was." His formative years would forge a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds." Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including well-documented periods of mental health and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to be defined narrowly has led him outside the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he comments. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a proof to the power of defying expectations. How would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D. "That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy." Although Enninful appears sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." Shifting Attitudes This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol. In Enninful's view, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music. "People with a voice should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will pass." A New Wave of Consciousness He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was." His formative years would forge a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased. "To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds." Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including well-documented periods of mental health and substance use. He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This determination to be defined narrowly has led him outside the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he comments. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a proof to the power of defying expectations. How would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."