🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, now a different political force stands as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. According to Enninful, the antidote has always been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from politics. "People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will end." The Younger Generation's Awareness He finds hope in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including openly discussed periods of mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to fit into a box has inspired him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "The establishment didn't always celebrate the most relevant talents because they lacked the right pedigree," he states. This venture itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Today, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of following your instincts. What would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
A serendipitous meeting during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Perceived Regression This change is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, now a different political force stands as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more. According to Enninful, the antidote has always been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from politics. "People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will end." The Younger Generation's Awareness He finds hope in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was." His formative years would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased. "To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity between worlds." Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including openly discussed periods of mental health and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to fit into a box has inspired him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "The establishment didn't always celebrate the most relevant talents because they lacked the right pedigree," he states. This venture itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Today, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of following your instincts. What would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."