🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This regression is hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again. For Enninful, the response has consistently been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from literature. "Individuals with a platform should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will fade." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Contrary to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including openly discussed periods of mental health and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has led him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he observes. The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a demonstration to the power of defying expectations. What would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing 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 serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon." A Cultural Backslide This regression is hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, today a more divisive political personality stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again. For Enninful, the response has consistently been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from literature. "Individuals with a platform should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will fade." A New Wave of Consciousness He finds hope in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew. "Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has established his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Contrary to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including openly discussed periods of mental health and substance use. He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be typecast has led him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time. "Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he observes. The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a demonstration to the power of defying expectations. What would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing 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."