🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "I feel, 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 far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from literature. "Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this phase will fade." Hope in the Next Generation He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. 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." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including openly discussed battles with depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be defined narrowly has inspired him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time. "Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he comments. This project itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful is regarded as one of the world's most respected cultural influencers. His story, he feels, is a demonstration to the power of following your instincts. What would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "I feel, 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 far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from literature. "Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this phase will fade." Hope in the Next Generation He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. 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." In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including openly discussed battles with depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to be defined narrowly has inspired him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time. "Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he comments. This project itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful is regarded as one of the world's most respected cultural influencers. His story, he feels, is a demonstration to the power of following your instincts. What would the younger Edward make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach." He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."