The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
Shifting Attitudes
This regression is difficult to overlook: the resurgence of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, now a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.
In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from literature.
"Individuals with a platform should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will end."
A New Wave of Consciousness
He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."
His formative years would define a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.
"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.
Launching a Creative Venture
He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".
"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."
In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including openly discussed periods of mental health and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be typecast has propelled him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.
"Galleries didn't always celebrate the most relevant talents because they did not have the expected background," he observes.
The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of following your instincts.
How would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
