🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political force stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again. According to Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music. "People with a voice should use it," he asserts, referring to those publishing choices. "Everyone talks 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 hope 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 talk about systemic issues – I was not even aware what that was." His formative years would define a pioneering career built on fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has included its share of adversity, including publicly shared struggles with depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, anxious 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 passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to fit into a box has inspired him away from the world that established him. 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 explains, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment didn't always shine a light on the right artists because they did not have the expected background," he states. This project itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he states, is a proof to the power of defying expectations. What would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. 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 entire life. But nothing can stop me once I’ve decided to do something."
A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine. "It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity." Although Enninful appears wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political force stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again. According to Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music. "People with a voice should use it," he asserts, referring to those publishing choices. "Everyone talks 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 hope 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 talk about systemic issues – I was not even aware what that was." His formative years would define a pioneering career built on fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose. "To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator". "My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds." Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has included its share of adversity, including publicly shared struggles with depression and substance use. He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, anxious 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 passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This determination to fit into a box has inspired him away from the world that established him. 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 explains, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time. "The establishment didn't always shine a light on the right artists because they did not have the expected background," he states. This project itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he states, is a proof to the power of defying expectations. What would the younger Edward think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. 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 entire life. But nothing can stop me once I’ve decided to do something."