The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels 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 worldwide."
Shifting Attitudes
This regression is increasingly evident: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure looms as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the solution has always 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 snapshot of modern Britain, featuring a diverse array of influential figures from literature.
"Those in a position of influence should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."
His formative years would define a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."
Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His journey has involved hardship, including publicly shared periods of mental health and substance use.
He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be typecast has propelled him away from the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.
"The establishment often failed to promote the right artists because they did not have the traditional credentials," he observes.
This project itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of defying expectations.
How would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly 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 made up my mind to do something."
