🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a different political force looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from art. "Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will end." Hope in the Next Generation He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." Those early experiences would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. 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." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including openly discussed struggles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has propelled him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time. "Galleries often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he comments. This project itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a proof to the power of following your instincts. What would the younger Edward make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. 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 course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a different political force looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again. In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from art. "Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will end." Hope in the Next Generation He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was." Those early experiences would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. Beyond the Magazine World He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor". "I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. 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." Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including openly discussed struggles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has propelled him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time. "Galleries often failed to shine a light on the most relevant talents because they lacked the traditional credentials," he comments. This project itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Today, Enninful operates as one of the world's most influential industry leaders. His story, he believes, is a proof to the power of following your instincts. What would the younger Edward make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."