Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."
Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "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."
A Perceived Regression
This shift is increasingly evident: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the previous decade, today a more divisive political force looms as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.
According to Enninful, the solution has always been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from art.
"Those in a position of influence should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this phase will end."
The Younger Generation's Awareness
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."
The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.
"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including well-documented battles with mental health and addiction.
He has also endured significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be typecast has inspired him outside the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.
"Galleries didn't always celebrate the most relevant talents because they weren't of the right pedigree," he states.
This project itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of following your instincts.
What would the Enninful of that era make of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."
He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."
