The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, 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 fashion director of the iconic i-D.
"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered 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."
Although Enninful appears sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This shift is difficult to overlook: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, now a different political force appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.
According to Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from politics.
"Those in a position of influence should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end."
A New Wave of Consciousness
He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."
The beginnings of his career would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales grew.
"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."
Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved adversity, including well-documented struggles with mental health and substance use.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s like 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 fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
A Foray into Curation
This refusal to be typecast has propelled him beyond the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.
"Galleries sometimes neglected to promote the truly innovative creators because they lacked the expected background," he states.
The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a broader vision."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of pursuing your passions.
How would the younger Edward make of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach."
He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."