The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."
Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This change is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political force looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.
In Enninful's view, the response has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from literature.
"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will fade."
A New Wave of Consciousness
He takes comfort in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."
The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.
"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.
Beyond the Magazine World
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."
Contrary to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including openly discussed periods of mental health and addiction.
He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to fit into a box has propelled him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.
"Galleries often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he comments.
This project itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of following your instincts.
How would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."
He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing 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 made up my mind to do something."