🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Perceived Regression This regression is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure looms as a potential leader. Furthermore, the British flag, 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 guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from literature. "People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this period will end." Hope in the Next Generation He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would define a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including openly discussed periods of mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has propelled him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he observes. This venture itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations. What would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D. "It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide." A Perceived Regression This regression is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure looms as a potential leader. Furthermore, the British flag, 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 guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from literature. "People with a voice should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this period will end." Hope in the Next Generation He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." Those early experiences would define a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales rose. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. Launching a Creative Venture He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor". "My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds." Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including openly discussed periods of mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to fit into a box has propelled him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time. "The establishment sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he observes. This venture itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations. What would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me." He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."