🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' 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 rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the antidote has always been to celebrate 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 snapshot of modern Britain, featuring a broad spectrum of cultural icons from art. "Individuals with a platform should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." His formative years would define a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Beyond the Magazine World He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds." Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved hardship, including publicly shared battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 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 inspired him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "Institutions often failed to promote the most relevant talents because they lacked the traditional credentials," he comments. The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential creative power brokers. His path, he believes, is a demonstration to the power of defying expectations. What would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, 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 decided 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 rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness." Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon." A Perceived Regression This regression is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again. According to Enninful, the antidote has always been to celebrate 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 snapshot of modern Britain, featuring a broad spectrum of cultural icons from art. "Individuals with a platform should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will end." A New Wave of Consciousness He finds hope in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was." His formative years would define a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew. "Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states. Beyond the Magazine World He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator". "I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds." Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved hardship, including publicly shared battles with mental health and addiction. He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 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 inspired him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time. "Institutions often failed to promote the most relevant talents because they lacked the traditional credentials," he comments. The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision." An Unstoppable Drive Now, Enninful is regarded as one of the world's most influential creative power brokers. His path, he believes, is a demonstration to the power of defying expectations. What would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, 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 decided to do something."