The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."
If Enninful sounds wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This change is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political figure stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the response has always been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from art.
"People with a voice should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this phase will end."
The Younger Generation's Awareness
He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."
The beginnings of his career would shape a pioneering career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
Launching a Creative Venture
He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."
Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including well-documented periods of mental health and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to fit into a box has inspired him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.
"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.
The magazine 72 itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most powerful cultural influencers. His path, he states, is a demonstration to the power of defying expectations.
What would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."
