The fashion icon Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This regression is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, currently a different political figure stands as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.
For Enninful, the solution has consistently been to promote culture in all its variety. 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 diverse array of influential figures from music.
"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this moment will end."
Hope in the Next Generation
He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."
The beginnings of his career would forge a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has involved adversity, including well-documented struggles with depression and addiction.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured 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 thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be typecast has inspired him away from the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.
"The establishment didn't always shine a light on the most relevant talents because they did not have the expected background," he observes.
The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a proof to the power of pursuing your passions.
What would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
