The fashion icon Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"It was the height 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 understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
While Enninful may seem sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This shift is difficult to overlook: the rise of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has long been to champion 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, including a broad spectrum of influential figures from art.
"People with a voice should wield it," he asserts, discussing 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 refuge and an education. That’s the Britain I believed in. I trust this phase will fade."
The Younger Generation's Awareness
He draws solace in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."
Those early experiences would forge a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
Launching a Creative Venture
He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."
Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has involved challenges, including openly discussed periods of depression and substance use.
He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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."
A Foray into Curation
This determination to fit into a box has propelled him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.
"Galleries didn't always promote the most relevant talents because they lacked the traditional credentials," he observes.
This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a broader vision."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of following your instincts.
What would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."
