🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again. For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from literature. "People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this period will pass." Hope in the Next Generation He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including publicly shared periods of depression and substance use. He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all 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 determination to be defined narrowly has inspired him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time. "Galleries didn't always celebrate the right artists because they did not have the traditional credentials," he observes. This project itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of pursuing your passions. What would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere." Shifting Attitudes This regression is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again. For Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from literature. "People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this period will pass." Hope in the Next Generation He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises. A New Chapter as a 'Disruptor' He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including publicly shared periods of depression and substance use. He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all 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 determination to be defined narrowly has inspired him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time. "Galleries didn't always celebrate the right artists because they did not have the traditional credentials," he observes. This project itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of pursuing your passions. What would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."