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 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This regression is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the Blair era, currently a different political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.
According to Enninful, the response has always been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from art.
"Those in a position of influence should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will end."
Hope in the Next Generation
He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."
His formative years would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.
"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of adversity, including openly discussed battles with mental health and addiction.
He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to be typecast has inspired him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.
"Galleries didn't always promote the most relevant talents because they weren't of the traditional credentials," he states.
The magazine 72 itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.
What would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then 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 lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."
