🔗 Share this article Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago. An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again. According to Enninful, the solution has long been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music. "People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will pass." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." The beginnings of his career would shape a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew. "To overlook vast segments 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 new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has involved hardship, including openly discussed battles with depression and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has propelled him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the traditional credentials," he states. The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of defying expectations. What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."
An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D. "That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy." While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide." A Perceived Regression This shift is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, now a more divisive political figure appears as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again. According to Enninful, the solution has long been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music. "People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will pass." The Younger Generation's Awareness He draws solace in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was." The beginnings of his career would shape a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew. "To overlook vast segments 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 new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor". "I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside." In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has involved hardship, including openly discussed battles with depression and substance use. He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion." Curating a Cultural Era This refusal to be defined narrowly has propelled him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time. "The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the traditional credentials," he states. The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem." Looking Forward Without Fear Currently, Enninful stands as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of defying expectations. What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach." He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."