The fashion icon Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"It was the height of the Young British Artists – 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 great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This regression is increasingly evident: the resurgence of far-right politics, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political figure appears as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, 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, showcasing a broad spectrum of influential figures from literature.
"People with a voice should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass."
The Younger Generation's Awareness
He draws solace in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."
The beginnings of his career would forge a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".
"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."
Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including well-documented battles with depression and substance use.
He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid 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 be typecast has led him away from the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.
"Institutions often failed to shine a light on the right artists because they did not have the expected background," he comments.
The magazine 72 itself uses a unique approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of defying expectations.
How would the Enninful of that era react to the Edward of today? He chuckles. "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 adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
