Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."
Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This regression is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, currently a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from politics.
"People with a voice should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."
A New Wave of Consciousness
He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."
His formative years would shape a pioneering career marked by boldness and diversity. 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 time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.
Launching a Creative Venture
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".
"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."
Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to adversity, including publicly shared struggles with mental health and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. 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 afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to fit into a box has inspired him outside the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.
"The establishment didn't always celebrate the right artists because they did not have the traditional credentials," he states.
This venture itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a proof to the power of defying expectations.
What would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."
