The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."
Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This shift is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the Blair era, now a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.
For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from politics.
"Individuals with a platform should employ it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this period will end."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."
His formative years would forge a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew.
"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".
"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has not been immune to hardship, including well-documented battles with depression and substance use.
He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. 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 scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to be typecast has inspired him beyond the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.
"Galleries often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he states.
The magazine 72 itself functions with a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Currently, Enninful operates as one of the world's most powerful cultural influencers. His story, he believes, is a testament to the power of defying expectations.
What would the Enninful of that era make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."