🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s. A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics. "Those in a position of influence should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this phase will pass." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." His formative years would define a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. 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 became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds." In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of challenges, including openly discussed battles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful 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 fit into a box has propelled him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the expected background," he observes. The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a broader vision." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of following your instincts. What would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing 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 chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness." If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere." Shifting Attitudes This change is hard to ignore: the rise of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics. "Those in a position of influence should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this phase will pass." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was." His formative years would define a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales rose. "When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises. Beyond the Magazine World He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor". "I’ve always questioned the status quo. 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 became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds." In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of challenges, including openly discussed battles with mental health and substance use. He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful 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 fit into a box has propelled him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time. "The establishment sometimes neglected to shine a light on the right artists because they lacked the expected background," he observes. The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a broader vision." A Testament to Resilience Today, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of following your instincts. What would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me." He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing 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."