🔗 Share this article The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties. An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Cultural Backslide This change is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the solution has always been to promote 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 portrait of modern Britain, featuring a broad spectrum of cultural icons from art. "Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this moment will fade." Hope in the Next Generation He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire 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 president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including well-documented struggles with mental health and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity 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 drive to be defined narrowly has propelled him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he observes. The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a testament to the power of defying expectations. What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine. "It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Cultural Backslide This change is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, today a different political personality looms as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again. In Enninful's view, the solution has always been to promote 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 portrait of modern Britain, featuring a broad spectrum of cultural icons from art. "Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this moment will fade." Hope in the Next Generation He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." The beginnings of his career would forge a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew. "Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states. Beyond the Magazine World He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire 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 president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider." Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of challenges, including well-documented struggles with mental health and addiction. He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity 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 drive to be defined narrowly has propelled him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time. "Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he observes. The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem." A Testament to Resilience Today, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a testament to the power of defying expectations. What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach." He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."