🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Perceived Regression This regression is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol. For Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from art. "Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would shape a pioneering career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including publicly shared struggles with mental health 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 live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has led him beyond the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he comments. This project itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of defying expectations. What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."
A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D. "That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Perceived Regression This regression is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol. For Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from art. "Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will end." The Younger Generation's Awareness He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would shape a pioneering career built on boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside." Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including publicly shared struggles with mental health 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 live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person." The Tate Britain Exhibition This drive to fit into a box has led him beyond the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he comments. This project itself uses a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of defying expectations. What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."