🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This regression is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the Blair era, currently a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from art. "Individuals with a platform should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life 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 always loved. I believe this period will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was." His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew. "Ignoring 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 new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His journey has involved hardship, including publicly shared periods of mental health and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be defined narrowly has led him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to promote the right artists because they weren't of the right pedigree," he observes. The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then 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 were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness." If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere." A Perceived Regression This regression is increasingly evident: the resurgence of populist movements, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the Blair era, currently a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more. In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from art. "Individuals with a platform should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life 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 always loved. I believe this period will pass." The Younger Generation's Awareness He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was." His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew. "Ignoring 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 new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker". "My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His journey has involved hardship, including publicly shared periods of mental health and substance use. He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be defined narrowly has led him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time. "Institutions sometimes neglected to promote the right artists because they weren't of the right pedigree," he observes. The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions. How would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then 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 were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."