Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This regression is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, now a more divisive political figure looms as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.
For Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from art.
"People with a voice should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will pass."
A New Wave of Consciousness
He finds hope in the next generation: "They’re much more aware 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 set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker".
"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."
Defying the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has included its share of challenges, including well-documented struggles with mental health and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be typecast has propelled him away from the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining 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 adequate attention at the time.
"Galleries often failed to celebrate the most relevant talents because they did not have the right pedigree," he comments.
This project itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Now, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of defying expectations.
What would the younger Edward react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."
He pauses. "Gratitude is key. We lost our home, we fled our country. 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."
