Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, today a different political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.
In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.
"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope 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 systemic issues – I had no concept what that was."
His formative years would forge a pioneering career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.
"When you ignore large portions of the population, it’s more than that you’re excluding people – 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 first major project since moving on from his former post. He states his aim to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."
Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has involved adversity, including openly discussed battles with depression and addiction.
He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything 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 refusal to be defined narrowly has inspired him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining 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 a spotlight at the time.
"Galleries sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he observes.
This venture itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."
An Unstoppable Drive
Today, Enninful stands as one of the world's most influential cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions.
How would the younger Edward react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."