🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the YBA movement – 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 kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the solution has always been to celebrate 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from music. "People with a voice should use it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was." Those early experiences would forge a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside." Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved adversity, including publicly shared battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be typecast has inspired him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time. "Galleries sometimes neglected to promote the most relevant talents because they lacked the expected background," he states. This project itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of pursuing your passions. What would the younger Edward think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."
A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D. "That time was the height of the YBA movement – 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 kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy." While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This change is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political figure appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more. For Enninful, the solution has always been to celebrate 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 celebration of modern Britain, showcasing a broad spectrum of prominent faces from music. "People with a voice should use it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end." Hope in the Next Generation He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was." Those early experiences would forge a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased. "When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains. A New Chapter as a 'Disruptor' He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor". "I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside." Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has involved adversity, including publicly shared battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." A Foray into Curation This refusal to be typecast has inspired him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time. "Galleries sometimes neglected to promote the most relevant talents because they lacked the expected background," he states. This project itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem." Looking Forward Without Fear Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of pursuing your passions. What would the younger Edward think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me." He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."