🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving 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 met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from literature. "Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will pass." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was." The beginnings of his career would define a groundbreaking career built on boldness and diversity. Enninful set a precedent 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 landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds." Contrary to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including well-documented battles with mental health and addiction. He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "Galleries sometimes neglected to promote the most relevant talents because they lacked the expected background," he comments. The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of defying expectations. How would the Edward of the 90s think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving 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 met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol. In Enninful's view, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from literature. "Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will pass." A New Wave of Consciousness He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was." The beginnings of his career would define a groundbreaking career built on boldness and diversity. Enninful set a precedent 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 landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains. Beyond the Magazine World He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds." Contrary to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including well-documented battles with mental health and addiction. He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 fashion person." The Tate Britain Exhibition This refusal to be defined narrowly has led him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time. "Galleries sometimes neglected to promote the most relevant talents because they lacked the expected background," he comments. The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem." An Unstoppable Drive Now, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of defying expectations. How would the Edward of the 90s think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."