The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"It 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 knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This regression is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, currently a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.
For Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from literature.
"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."
The Younger Generation's Awareness
He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."
The beginnings of his career would forge a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.
"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.
Launching a Creative Venture
He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".
"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His path has included its share of hardship, including publicly shared struggles with depression and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be defined narrowly has propelled him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.
"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he comments.
This project itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
A Testament to Resilience
Now, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of defying expectations.
How would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach."
He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
