The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
If Enninful sounds sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This shift is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.
According to Enninful, the response has always been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from music.
"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this period will end."
A New Wave of Consciousness
He draws solace in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."
The beginnings of his career would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.
A New Chapter as a 'Disruptor'
He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".
"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside."
Defying the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including openly discussed struggles with depression and addiction.
He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 fashion person."
Curating a Cultural Era
This refusal to be defined narrowly has led him outside the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.
"The establishment didn't always shine a light on the right artists because they weren't of the expected background," he states.
The magazine 72 itself operates on a novel 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 larger creative platform."
A Testament to Resilience
Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of defying expectations.
What would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."