The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
Shifting Attitudes
This regression is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to champion 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, including a wide range of prominent faces from music.
"Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass."
The Younger Generation's Awareness
He draws solace in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."
Those early experiences would define a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales increased.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".
"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including publicly shared struggles with mental health and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, 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."
The Tate Britain Exhibition
This drive to be typecast has propelled him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.
"The establishment often failed to celebrate the most relevant talents because they did not have the expected background," he comments.
This venture itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a proof to the power of pursuing your passions.
What would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."
