Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.
"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This regression is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, today a different political force looms as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.
In Enninful's view, the solution has always 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, featuring a broad spectrum of cultural icons from literature.
"Individuals with a platform should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass."
Hope in the Next Generation
He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."
His formative years would define a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.
"To overlook 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 established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds."
In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has involved hardship, including well-documented struggles with mental health and substance use.
He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This determination to be defined narrowly has propelled him beyond the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.
"Galleries sometimes neglected to celebrate the truly innovative creators because they did not have the right pedigree," he states.
This project itself functions with a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of defying expectations.
How would the younger Edward make of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing 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 made up my mind to do something."
