The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This shift is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political personality looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.
In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from art.
"People with a voice should wield it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will pass."
The Younger Generation's Awareness
He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
The beginnings of his career would shape a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."
Contrary to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has involved challenges, including publicly shared periods of depression and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, 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 confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to fit into a box has inspired him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.
"Institutions sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he comments.
This project itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of following your instincts.
How would the younger Edward react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
