🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "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 energy." Although Enninful appears wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again. In Enninful's view, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics. "People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this period will end." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." His formative years would shape a pioneering career characterised by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including well-documented periods of depression and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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." The Tate Britain Exhibition This refusal to fit into a box has led him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time. "Institutions didn't always shine a light on the most relevant talents because they did not have the right pedigree," he states. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of defying expectations. What would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine. "That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "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 energy." Although Enninful appears wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide." A Perceived Regression This change is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again. In Enninful's view, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from politics. "People with a voice should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this period will end." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." His formative years would shape a pioneering career characterised by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew. "To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside." In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including well-documented periods of depression and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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." The Tate Britain Exhibition This refusal to fit into a box has led him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time. "Institutions didn't always shine a light on the most relevant talents because they did not have the right pedigree," he states. This venture itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem." An Unstoppable Drive Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of defying expectations. What would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me." He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."