The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."
While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives 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 a global phenomenon."
A Perceived Regression
This change is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, today a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.
For Enninful, the solution has always been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from music.
"People with a voice should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will fade."
The Younger Generation's Awareness
He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."
The beginnings of his career would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.
Launching a Creative Venture
He has established his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".
"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 leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."
Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has involved hardship, including openly discussed struggles with depression and substance use.
He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to fit into a box has inspired him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.
"The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he comments.
This venture itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of following your instincts.
What would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."
