The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."
Although Enninful appears sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This change is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, today a different political force stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, the antidote has consistently been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from art.
"Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end."
The Younger Generation's Awareness
He finds hope in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."
Those early experiences would forge a pioneering career built on boldness and diversity. Enninful set a precedent as the first man, first black man, 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, older individuals, and individuals from varied communities. Critically, sales grew.
"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".
"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being between worlds."
Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to challenges, including publicly shared battles with depression and addiction.
He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to fit into a box has led him away from the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.
"Galleries didn't always promote the most relevant talents because they weren't of the right pedigree," he observes.
The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Now, Enninful operates as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.
What would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."
