Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This regression is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.
For Enninful, the response has consistently been to promote 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 wide range of prominent faces from literature.
"People with a voice should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."
The Younger Generation's Awareness
He draws solace in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."
Those early experiences would define a trailblazing career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.
"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.
Beyond the Magazine World
He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".
"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside."
In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including well-documented struggles with depression and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured 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 prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be typecast has propelled him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.
"Galleries often failed to shine a light on the truly innovative creators because they did not have the right pedigree," he observes.
This venture itself functions with a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.
How would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."
