The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This change is difficult to overlook: the resurgence of far-right politics, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, currently a different political figure stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.
In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from art.
"People with a voice should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."
Hope in the Next Generation
He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
His formative years would forge a groundbreaking career built on boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".
"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."
Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to challenges, including publicly shared periods of mental health and substance use.
He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be defined narrowly has inspired him outside the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Galleries didn't always celebrate the right artists because they did not have the traditional credentials," he states.
This project itself uses a different business model, 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 one component of a broader vision."
Looking Forward Without Fear
Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.
How would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
