The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
Shifting Attitudes
This shift is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.
For Enninful, the antidote has consistently been to promote 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 portrait of modern Britain, featuring a broad spectrum of cultural icons from literature.
"Those in a position of influence 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 welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this moment will end."
A New Wave of Consciousness
He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."
The beginnings of his career would shape a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
Beyond the Magazine World
He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator".
"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside."
Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including openly discussed battles with depression and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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 fashion person."
A Foray into Curation
This refusal to be defined narrowly has led him outside the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.
"Institutions often failed to promote the most relevant talents because they did not have the right pedigree," he states.
The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Now, Enninful is regarded as one of the world's most respected cultural influencers. His story, he feels, is a testament to the power of defying expectations.
How would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."
