The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
A Perceived Regression
This change is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from literature.
"Individuals with a platform should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."
Hope in the Next Generation
He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."
His formative years would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.
"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned 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, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."
Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including openly discussed battles with mental health and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be typecast has propelled him away from the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.
"The establishment often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.
This project itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."
A Testament to Resilience
Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of following your instincts.
What would the Enninful of that era think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
