The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, now a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from politics.
"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will end."
The Younger Generation's Awareness
He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."
The beginnings of his career would shape a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.
"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".
"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."
Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has involved adversity, including openly discussed battles with mental health and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be defined narrowly has led him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.
"Institutions often failed to celebrate the truly innovative creators because they did not have the expected background," he states.
This project itself functions with a unique strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."
A Testament to Resilience
Currently, Enninful operates as one of the world's most influential industry leaders. His journey, he feels, is a demonstration to the power of pursuing your passions.
How would the Edward of the 90s think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly 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."
