The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears wistful, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This regression is increasingly evident: the rise of populist movements, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality looms as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.
According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from politics.
"People with a voice should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass."
A New Wave of Consciousness
He takes comfort in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."
Those early experiences would forge a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent 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 tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.
"Ignoring 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 first major project since moving on from his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."
Defying the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has not been immune to hardship, including well-documented struggles with depression and addiction.
He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This determination to be defined narrowly has led him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.
"The establishment didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he states.
The magazine 72 itself uses a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of following your instincts.
How would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."