🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again. According to Enninful, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from politics. "People with a voice should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end." Hope in the Next Generation He finds hope in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to adversity, including well-documented struggles with mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be defined narrowly has led him away from the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time. "Galleries sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he comments. This project itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Currently, Enninful operates as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of defying expectations. What would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D. "That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Cultural Backslide This regression is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the previous decade, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again. According to Enninful, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from politics. "People with a voice should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end." Hope in the Next Generation He finds hope in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would forge a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased. "Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker". "I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider." In contrast to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to adversity, including well-documented struggles with mental health and substance use. He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This drive to be defined narrowly has led him away from the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time. "Galleries sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he comments. This project itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision." Looking Forward Without Fear Currently, Enninful operates as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of defying expectations. What would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."