🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the height 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 felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." Shifting Attitudes This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, now a different political force looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again. In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature. "People with a voice should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end." The Younger Generation's Awareness He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds." In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including publicly shared struggles with depression and substance use. He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "Galleries often failed to celebrate the truly innovative creators because they lacked the expected background," he states. The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful cultural influencers. His path, he believes, is a testament to the power of defying expectations. How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, 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 decided to do something."
A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That time was the height 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 felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide." Shifting Attitudes This regression is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, now a different political force looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again. In Enninful's view, the response has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature. "People with a voice should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this phase will end." The Younger Generation's Awareness He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was." Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew. "When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator". "I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds." In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including publicly shared struggles with depression and substance use. He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This drive to fit into a box has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "Galleries often failed to celebrate the truly innovative creators because they lacked the expected background," he states. The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform." Looking Forward Without Fear Now, Enninful operates as one of the world's most powerful cultural influencers. His path, he believes, is a testament to the power of defying expectations. How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We lost our home, 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 decided to do something."