The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
Although Enninful appears nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This shift is difficult to overlook: the resurgence of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music.
"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this period will pass."
A New Wave of Consciousness
He takes comfort in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would shape a pioneering career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".
"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."
Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has included its share of hardship, including openly discussed struggles with depression and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to fit into a box has inspired him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster 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 weren't given adequate attention at the time.
"The establishment often failed to promote the most relevant talents because they lacked the expected background," 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 do together? Is it an experience, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most respected cultural influencers. His journey, he believes, is a demonstration to the power of following your instincts.
What would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."
He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."
