🔗 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 during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Perceived Regression This change is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political force looms as a possible leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music. "People with a voice should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was." His formative years would define a pioneering career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside." Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including openly discussed battles with depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear 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 vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be typecast has inspired him beyond the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "Galleries didn't always celebrate the right artists because they did not have the expected background," he observes. This project itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a testament to the power of following your instincts. How would the Edward of the 90s think of the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He pauses. "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 entire life. But no obstacle is too great once I’ve made up my mind to do something."
An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine. "That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Perceived Regression This change is increasingly evident: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political force looms as a possible leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol. According to Enninful, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music. "People with a voice should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end." Hope in the Next Generation He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was." His formative years would define a pioneering career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises. Beyond the Magazine World He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator". "My nature is to challenge the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside." Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including openly discussed battles with depression and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear 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 vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person." The Tate Britain Exhibition This refusal to be typecast has inspired him beyond the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time. "Galleries didn't always celebrate the right artists because they did not have the expected background," he observes. This project itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a testament to the power of following your instincts. How would the Edward of the 90s think of the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He pauses. "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 entire life. But no obstacle is too great once I’ve made up my mind to do something."