The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This shift is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political force looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.
For Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.
"Those in a position of influence should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."
Hope in the Next Generation
He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."
His formative years would define a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales increased.
"To overlook large portions 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 since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to 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 subject to police stops the suspicion laws … all that gave me a dual identity between worlds."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of challenges, including openly discussed battles with mental health and addiction.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be typecast has propelled him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.
"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he comments.
This project itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."
A Testament to Resilience
Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a demonstration to the power of pursuing your passions.
How would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."
