The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Perceived Regression
This shift is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, today a different political force stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.
For Enninful, the antidote has consistently been to celebrate 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 celebration of modern Britain, including a broad spectrum of influential figures from music.
"People with a voice should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will end."
A New Wave of Consciousness
He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."
His formative years would define a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.
"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
Launching a Creative Venture
He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."
In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has involved adversity, including well-documented struggles with mental health and substance use.
He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be defined narrowly has led him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.
"Institutions often failed to celebrate the truly innovative creators because they did not have the expected background," he observes.
This project itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Currently, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a testament to the power of following your instincts.
How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."
