🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." Although Enninful appears sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This change is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, now a different political force appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol. In Enninful's view, the response has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art. "People with a voice should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales increased. "To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds." Defying the popular image of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to adversity, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has propelled him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time. "The establishment sometimes neglected to promote the right artists because they lacked the expected background," he states. This project itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of following your instincts. What would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." Although Enninful appears sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This change is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, now a different political force appears as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol. In Enninful's view, the response has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art. "People with a voice should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass." Hope in the Next Generation He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was." Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales increased. "To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds." Defying the popular image of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to adversity, including well-documented struggles with mental health and addiction. He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This refusal to be typecast has propelled him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time. "The establishment sometimes neglected to promote the right artists because they lacked the expected background," he states. This project itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem." An Unstoppable Drive Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of following your instincts. What would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."