The fashion icon Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."
Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This change is difficult to overlook: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.
According to Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.
"Those in a position of influence should wield it," he comments, referring to those publishing choices. "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 education. That’s the Britain I cherished. I hope 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 analyse implicit prejudice – I had no concept what that was."
His formative years would define a pioneering career built on fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales rose.
"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."
In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has included its share of challenges, including openly discussed periods of mental health and addiction.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to be defined narrowly has inspired him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.
"Galleries often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he comments.
This venture itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of defying expectations.
How would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."
He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."