🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music. "Individuals with a platform should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end." Hope in the Next Generation He takes comfort in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would forge a trailblazing career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased. "To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside." Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has involved challenges, including openly discussed periods of mental health and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be defined narrowly has led him beyond the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time. "Galleries didn't always shine a light on the truly innovative creators because they did not have the traditional credentials," he states. This project itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a testament to the power of defying expectations. How would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity." Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from music. "Individuals with a platform should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end." Hope in the Next Generation He takes comfort in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was." The beginnings of his career would forge a trailblazing career built on boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased. "To overlook large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside." Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has involved challenges, including openly discussed periods of mental health and addiction. He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to be defined narrowly has led him beyond the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time. "Galleries didn't always shine a light on the truly innovative creators because they did not have the traditional credentials," he states. This project itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a testament to the power of defying expectations. How would the younger Edward make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."