🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties. A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again. For Enninful, the response has consistently been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from music. "Individuals with a platform should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will pass." A New Wave of Consciousness He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would shape a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales increased. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside." In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of challenges, including openly discussed struggles with mental health and substance use. He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, 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 determination to be defined narrowly has inspired him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "Galleries sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he comments. This venture itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of defying expectations. What would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again. For Enninful, the response has consistently been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from music. "Individuals with a platform should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will pass." A New Wave of Consciousness He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was." His formative years would shape a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales increased. "When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside." In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of challenges, including openly discussed struggles with mental health and substance use. He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, 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 determination to be defined narrowly has inspired him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "Galleries sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he comments. This venture itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of defying expectations. What would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."