🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This regression is increasingly evident: the growth of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political personality appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more. For Enninful, the antidote has always been to promote 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 snapshot of modern Britain, showcasing a broad spectrum of prominent faces from politics. "People with a voice should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will end." The Younger Generation's Awareness He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would shape a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator". "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 president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has involved hardship, including publicly shared battles with depression and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has led him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "The establishment often failed to promote the most relevant talents because they lacked the right pedigree," he comments. This project itself uses a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of following your instincts. How would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This regression is increasingly evident: the growth of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political personality appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more. For Enninful, the antidote has always been to promote 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 snapshot of modern Britain, showcasing a broad spectrum of prominent faces from politics. "People with a voice should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will end." The Younger Generation's Awareness He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was." His formative years would shape a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose. "Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator". "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 president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside." Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has involved hardship, including publicly shared battles with depression and addiction. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion." A Foray into Curation This drive to be typecast has led him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time. "The establishment often failed to promote the most relevant talents because they lacked the right pedigree," he comments. This project itself uses a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Now, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of following your instincts. How would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me." He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."