Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "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 social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a different political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art.
"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will end."
The Younger Generation's Awareness
He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."
His formative years would forge a pioneering career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales increased.
"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.
Launching a Creative Venture
He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".
"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."
Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including openly discussed periods of depression and addiction.
He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to be defined narrowly has inspired him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.
"Institutions often failed to promote the most relevant talents because they lacked the right pedigree," he observes.
The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Today, Enninful stands as one of the world's most respected industry leaders. His path, he states, is a proof to the power of defying expectations.
What would the Enninful of that era think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."