The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
Although Enninful appears sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
Shifting Attitudes
This regression is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.
In Enninful's view, the antidote has consistently been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from politics.
"People with a voice should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this period will end."
The Younger Generation's Awareness
He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
Those early experiences would define a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.
Launching a Creative Venture
He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. 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."
Defying the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved adversity, including well-documented periods of mental health and addiction.
He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has inspired him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.
"Institutions often failed to celebrate the right artists because they lacked the traditional credentials," he observes.
This venture itself operates on a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a proof to the power of following your instincts.
How would the Edward of the 90s think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
