The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than in the 90s.
An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This regression is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, currently a different political personality appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.
In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from art.
"People with a voice should wield it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period will end."
Hope in the Next Generation
He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would forge a trailblazing career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, 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, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.
"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – 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 first major project since moving on from his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds."
In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including publicly shared periods of depression and substance use.
He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be defined narrowly has inspired him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.
"The establishment didn't always celebrate the right artists because they lacked the traditional credentials," he comments.
This venture itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Now, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of following your instincts.
How would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
