Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This shift is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political force stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.
In Enninful's view, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.
"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this period will end."
A New Wave of Consciousness
He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."
His formative years would define a pioneering career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales increased.
"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.
Launching a Creative Venture
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including publicly shared battles with depression and addiction.
He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, 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."
A Foray into Curation
This refusal to be typecast has inspired him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.
"Galleries often failed to celebrate the right artists because they weren't of the traditional credentials," he comments.
The magazine 72 itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of defying expectations.
How would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."