The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This regression is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, currently a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.
According to Enninful, the antidote has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music.
"Those in a position of influence should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this moment will end."
Hope in the Next Generation
He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."
His formative years would shape a trailblazing career built on fearlessness and diversity. Enninful set a precedent 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 tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.
"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."
In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has involved adversity, including publicly shared struggles with depression and addiction.
He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable 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 figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has inspired him beyond the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.
"The establishment didn't always celebrate the right artists because they did not have the traditional credentials," he states.
This project itself functions with a different business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected industry leaders. His journey, he believes, is a proof to the power of following your instincts.
What would the younger Edward make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."