🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol. For Enninful, the solution has consistently been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from music. "Individuals with a platform should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this moment will fade." Hope in the Next Generation He draws solace in the younger 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 trailblazing career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew. "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 established his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider." Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to adversity, including well-documented struggles with mental health and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity 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 made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "The establishment didn't always promote the most relevant talents because they lacked the traditional credentials," he observes. This venture itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Now, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of pursuing your passions. What would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy." Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide." A Cultural Backslide This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol. For Enninful, the solution has consistently been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from music. "Individuals with a platform should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this moment will fade." Hope in the Next Generation He draws solace in the younger 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 trailblazing career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew. "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 established his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker". "I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider." Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to adversity, including well-documented struggles with mental health and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity 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 made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time. "The establishment didn't always promote the most relevant talents because they lacked the traditional credentials," he observes. This venture itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem." A Testament to Resilience Now, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of pursuing your passions. What would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."