Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell 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 spontaneity."
While Enninful may seem nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. In place of the hope of the Blair era, currently a different political force stands as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the antidote has always been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from art.
"Those in a position of influence should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will fade."
The Younger Generation's Awareness
He draws solace in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."
His formative years would shape a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew.
"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Launching a Creative Venture
He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."
Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including openly discussed battles with mental health and addiction.
He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared 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 curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.
"Galleries sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he observes.
This venture itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His story, he feels, is a proof to the power of defying expectations.
How would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."
