🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties. A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a different political personality looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from music. "Individuals with a platform should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will end." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was." Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside." Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including publicly shared battles with depression and addiction. He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 determination to be typecast has propelled him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time. "Institutions often failed to promote the most relevant talents because they weren't of the expected background," he comments. The magazine 72 itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D. "It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness." While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere." A Cultural Backslide This shift is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a different political personality looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more. According to Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from music. "Individuals with a platform should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will end." Hope in the Next Generation He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was." Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains. Beyond the Magazine World He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator". "My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside." Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including publicly shared battles with depression and addiction. He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 determination to be typecast has propelled him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time. "Institutions often failed to promote the most relevant talents because they weren't of the expected background," he comments. The magazine 72 itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision." Looking Forward Without Fear Now, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of defying expectations. How would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me." He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."