🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This shift is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more. According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from literature. "Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider." Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to hardship, including well-documented battles with mental health and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid 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 made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time. "Institutions didn't always shine a light on the most relevant talents because they lacked the right pedigree," he comments. This venture itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of pursuing your passions. What would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere." A Perceived Regression This shift is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more. According to Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from literature. "Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will fade." The Younger Generation's Awareness He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states. A New Chapter as a 'Disruptor' He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker". "I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider." Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to hardship, including well-documented battles with mental health and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid 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 made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time. "Institutions didn't always shine a light on the most relevant talents because they lacked the right pedigree," he comments. This venture itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision." A Testament to Resilience Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of pursuing your passions. What would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."