The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, currently a different political personality appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, the response has long been to champion culture in all its multifaceted forms. 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 wide range of influential figures from art.
"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass."
A New Wave of Consciousness
He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."
His formative years would define a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.
"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".
"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and projects peace. His life has included its share of adversity, including publicly shared struggles with mental health and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to fit into a box has propelled him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.
"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he states.
This project itself functions with a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.
How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
