The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This shift is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.
For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from literature.
"Those in a position of influence should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will end."
Hope in the Next Generation
He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."
His formative years would define a trailblazing career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.
"Ignoring 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 since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".
"My nature is to challenge the status quo. I was born and raised 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 incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."
In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has involved hardship, including well-documented periods of depression and addiction.
He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, anxious 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 is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to be typecast has inspired him outside the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.
"The establishment didn't always celebrate the most relevant talents because they weren't of the right pedigree," he comments.
This venture itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most powerful industry leaders. His story, he states, is a demonstration to the power of defying expectations.
How would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
