🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more. For Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature. "Those in a position of influence should use it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career built on fearlessness and inclusivity. 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 time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "Institutions didn't always promote the right artists because they did not have the right pedigree," he comments. The magazine 72 itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Now, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of defying expectations. How would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D. "It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity." While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more. For Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature. "Those in a position of influence should use it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass." A New Wave of Consciousness He takes comfort in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was." The beginnings of his career would shape a groundbreaking career built on fearlessness and inclusivity. 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 time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased. "Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains. Beyond the Magazine World He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker". "I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside." Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use. He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion." A Foray into Curation This determination to be defined narrowly has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time. "Institutions didn't always promote the right artists because they did not have the right pedigree," he comments. The magazine 72 itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform." A Testament to Resilience Now, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of defying expectations. How would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me." He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."