🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting 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 increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the previous decade, today a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has always been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature. "People with a voice should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass." Hope in the Next Generation He draws solace in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would shape a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including publicly shared battles with depression and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This determination to be defined narrowly has led him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he comments. This project itself functions with a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a proof to the power of following your instincts. How would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting 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 increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the previous decade, today a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again. In Enninful's view, the antidote has always been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature. "People with a voice should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass." Hope in the Next Generation He draws solace in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was." His formative years would shape a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose. "To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker". "I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider." Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including publicly shared battles with depression and addiction. He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person." A Foray into Curation This determination to be defined narrowly has led him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time. "The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he comments. This project itself functions with a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform." A Testament to Resilience Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a proof to the power of following your instincts. How would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me." He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."