🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is increasingly evident: the rise of populist movements, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political personality looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more. According to Enninful, the response 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 celebration of modern Britain, featuring a broad spectrum of influential figures from art. "People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass." The Younger Generation's Awareness He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was." Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider." Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including publicly shared periods of mental health and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "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 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 restrict myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has propelled him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time. "The establishment didn't always celebrate the most relevant talents because they lacked the expected background," he comments. This venture itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is increasingly evident: the rise of populist movements, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political personality looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more. According to Enninful, the response 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 celebration of modern Britain, featuring a broad spectrum of influential figures from art. "People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass." The Younger Generation's Awareness He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was." Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew. "When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains. Launching a Creative Venture He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider." Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including publicly shared periods of mental health and addiction. He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "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 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 restrict myself to just being an editor or a fashion person." Curating a Cultural Era This drive to fit into a box has propelled him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time. "The establishment didn't always celebrate the most relevant talents because they lacked the expected background," he comments. This venture itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions. What would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me." He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."