🔗 Share this article The fashion icon Edward Enninful reflects 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 arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics. "Individuals with a platform should employ it," he says, referring to those editorial decisions. "People often debate 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 believed in. I trust this period will pass." A New Wave of Consciousness He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would shape a pioneering career marked by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider." Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to adversity, including well-documented periods of mental health and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to be defined narrowly has propelled him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states. The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." An Unstoppable Drive Now, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a demonstration to the power of pursuing your passions. What would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great 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 arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere." A Cultural Backslide This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, currently a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol. For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics. "Individuals with a platform should employ it," he says, referring to those editorial decisions. "People often debate 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 believed in. I trust this period will pass." A New Wave of Consciousness He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was." The beginnings of his career would shape a pioneering career marked by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states. Launching a Creative Venture He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker". "I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider." Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to adversity, including well-documented periods of mental health and addiction. He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This drive to be defined narrowly has propelled him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states. The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision." An Unstoppable Drive Now, Enninful operates as one of the world's most respected industry leaders. His path, he states, is a demonstration to the power of pursuing your passions. What would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me." He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."