The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, 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 change is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, now a more divisive political personality appears as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.
According to Enninful, the response has long been to champion culture in all its multifaceted forms. 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 wide range of prominent faces from art.
"Individuals with a platform should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will fade."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."
His formative years would define a trailblazing career built on boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".
"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds."
Contrary to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including well-documented battles with mental health and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, 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 restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to be defined narrowly has led him away from the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.
"Institutions sometimes neglected to promote the right artists because they lacked the traditional credentials," he comments.
The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he states, is a demonstration to the power of following your instincts.
What would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."
He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
