The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"It was the zenith 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 mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This shift is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the return of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political personality appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the response has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from literature.
"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this period will pass."
The Younger Generation's Awareness
He finds hope in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."
His formative years would shape a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew.
"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".
"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."
Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including openly discussed struggles with mental health and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be defined narrowly has inspired him beyond the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.
"Institutions sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he observes.
The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His path, he states, is a demonstration to the power of following your instincts.
How would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
