The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"It was the peak 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 felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This change is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a more divisive political force stands as a potential leader. Even, the British flag, once an badge of national pride, has sparked debate once more.
For Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from art.
"People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."
The beginnings of his career would define a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.
"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".
"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His path has involved hardship, including publicly shared struggles with depression and addiction.
He has also endured significant health issues, having had multiple operations on his eyes, leading to 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 prayed, if this ever is over, 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."
A Foray into Curation
This drive to be typecast has propelled him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.
"Galleries often failed to promote the most relevant talents because they did not have the traditional credentials," he comments.
This venture itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of defying expectations.
What would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."