🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s. A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political personality looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol. For Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from art. "Individuals with a platform should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this phase will end." Hope in the Next Generation He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has involved hardship, including well-documented battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has propelled him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "Institutions often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments. This venture itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of defying expectations. What would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."
A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy." If Enninful sounds nostalgic, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon." A Cultural Backslide This change is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political personality looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol. For Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from art. "Individuals with a platform should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this phase will end." Hope in the Next Generation He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was." The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states. A New Chapter as a 'Disruptor' He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor". "I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity between worlds." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has involved hardship, including well-documented battles with depression and addiction. He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person." A Foray into Curation This drive to be typecast has propelled him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "Institutions often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments. This venture itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform." Looking Forward Without Fear Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a proof to the power of defying expectations. What would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me." He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."