🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the rise of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. In Enninful's view, the antidote has always been to champion 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 snapshot of modern Britain, showcasing a broad spectrum of prominent faces from music. "People with a voice should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this moment will end." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was." His formative years would define a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has involved challenges, including openly discussed periods of depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid 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 be defined narrowly has propelled him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "Institutions sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he states. The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a proof to the power of pursuing your passions. How would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity." While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the rise of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more. In Enninful's view, the antidote has always been to champion 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 snapshot of modern Britain, showcasing a broad spectrum of prominent faces from music. "People with a voice should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this moment will end." A New Wave of Consciousness He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was." His formative years would define a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew. "When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains. A New Chapter as a 'Disruptor' He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds." Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has involved challenges, including openly discussed periods of depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid 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 be defined narrowly has propelled him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time. "Institutions sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he states. The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a proof to the power of pursuing your passions. How would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."