The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met 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 rolled into Saturday into Sunday. I miss that rawness."
If Enninful sounds sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels 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 a global phenomenon."
A Perceived Regression
This change is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, currently a different political force stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
For Enninful, the response has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.
"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."
Hope in the Next Generation
He finds hope in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."
His formative years would forge a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".
"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."
Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including well-documented struggles with depression and substance use.
He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, anxious 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to fit into a box has propelled him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential 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 due recognition at the time.
"Galleries didn't always shine a light on the right artists because they weren't of the expected background," he comments.
This venture itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most powerful industry leaders. His story, he feels, is a demonstration to the power of defying expectations.
How would the Enninful of that era react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."
