🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political force looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again. According to Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from music. "Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will end." The Younger Generation's Awareness 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." The beginnings of his career would shape a trailblazing career built on boldness and diversity. Enninful broke barriers 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 all walks of life. Significantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor". "My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to challenges, including well-documented battles with depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has propelled him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time. "The establishment often failed to celebrate the most relevant talents because they lacked the expected background," he comments. This venture itself uses a unique approach, 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 part of a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of following your instincts. What would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time 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 lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."
A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political force looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again. According to Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from music. "Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will end." The Younger Generation's Awareness 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." The beginnings of his career would shape a trailblazing career built on boldness and diversity. Enninful broke barriers 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 all walks of life. Significantly, sales grew. "When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor". "My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to challenges, including well-documented battles with depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has propelled him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time. "The establishment often failed to celebrate the most relevant talents because they lacked the expected background," he comments. This venture itself uses a unique approach, 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 part of a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of following your instincts. What would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time 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 lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."