🔗 Share this article The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is increasingly evident: the resurgence of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the response has long been to celebrate 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 snapshot of modern Britain, including a wide range of influential figures from literature. "Those in a position of influence should wield it," he comments, referring to those publishing choices. "Everyone talks 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 education. That’s the Britain I cherished. I hope this moment will pass." Hope in the Next Generation He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would shape a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew. "When you ignore large portions of the population, it’s not just 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 flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including well-documented periods of mental health and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to fit into a box has propelled him outside the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time. "Institutions often failed to celebrate the most relevant talents because they did not have the right pedigree," he states. This venture itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of following your instincts. What would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."
An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine. "That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity." Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon." A Cultural Backslide This shift is increasingly evident: the resurgence of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the response has long been to celebrate 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 snapshot of modern Britain, including a wide range of influential figures from literature. "Those in a position of influence should wield it," he comments, referring to those publishing choices. "Everyone talks 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 education. That’s the Britain I cherished. I hope this moment will pass." Hope in the Next Generation He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was." Those early experiences would shape a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew. "When you ignore large portions of the population, it’s not just 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 flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker". "I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds." Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including well-documented periods of mental health and addiction. He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to fit into a box has propelled him outside the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time. "Institutions often failed to celebrate the most relevant talents because they did not have the right pedigree," he states. This venture itself functions with a unique business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform." An Unstoppable Drive Currently, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of following your instincts. What would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach." He reflects. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."