The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the antidote has always been to promote 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, including a broad spectrum of influential figures from art.
"Individuals with a platform should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this period will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."
The beginnings of his career would forge a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has involved challenges, including publicly shared battles with depression and addiction.
He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be defined narrowly has inspired him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Galleries often failed to celebrate the right artists because they weren't of the traditional credentials," he comments.
This venture itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
A Testament to Resilience
Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a proof to the power of defying expectations.
What would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."
He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."