The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
Although Enninful appears wistful, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This change is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, currently a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.
According to Enninful, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from politics.
"Individuals with a platform should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this period will fade."
Hope in the Next Generation
He takes comfort in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."
The beginnings of his career would forge a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has established his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including well-documented struggles with mental health and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, 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 figure in fashion."
The Tate Britain Exhibition
This refusal to be defined narrowly has propelled him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.
"Institutions sometimes neglected to promote the right artists because they weren't of the expected background," he observes.
This project itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of following your instincts.
What would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."
