The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.
A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political personality stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
For Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.
"Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will pass."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."
Those early experiences would forge a groundbreaking career marked 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 lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.
"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."
In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved challenges, including publicly shared struggles with mental health and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be defined narrowly has led him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.
"The establishment often failed to promote the truly innovative creators because they lacked the right pedigree," he comments.
The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions.
How would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like 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 counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
