The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
Although Enninful appears nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. Yet 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 says. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This regression is hard to ignore: the resurgence of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. In place of the optimism of the late 90s, today a different political force appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.
For Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from music.
"People with a voice should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will fade."
Hope in the Next Generation
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
The beginnings of his career would shape a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.
"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".
"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved challenges, including well-documented periods of depression and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all 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 drive to be typecast has led him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.
"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he states.
This project itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of pursuing your passions.
How would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."
