🔗 Share this article The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Perceived Regression This regression is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a more divisive political personality looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from music. "People with a voice should use it," he asserts, referring to those editorial decisions. "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 opportunity. That’s the Britain I believed in. I hope this period will end." The Younger Generation's Awareness He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was." Those early experiences would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. Beyond the Magazine World He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including publicly shared struggles with depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has propelled him away from the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time. "The establishment didn't always shine a light on the truly innovative creators because they did not have the expected background," he comments. This project itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts. What would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D. "It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness." If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere." A Perceived Regression This regression is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a more divisive political personality looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol. For Enninful, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from music. "People with a voice should use it," he asserts, referring to those editorial decisions. "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 opportunity. That’s the Britain I believed in. I hope this period will end." The Younger Generation's Awareness He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was." Those early experiences would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose. "Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains. Beyond the Magazine World He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker". "My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider." Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including publicly shared struggles with depression and addiction. He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has propelled him away from the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time. "The establishment didn't always shine a light on the truly innovative creators because they did not have the expected background," he comments. This project itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of following your instincts. What would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."