Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That era was the peak of the YBA movement – 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 socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
A Perceived Regression
This change is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political personality appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.
According to Enninful, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from art.
"People with a voice should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this moment will fade."
The Younger Generation's Awareness
He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."
The beginnings of his career would shape a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales grew.
"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.
Launching a Creative Venture
He has established his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."
In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use.
He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "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 exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This determination to fit into a box has propelled him outside the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.
"Galleries sometimes neglected to promote the most relevant talents because they weren't of the right pedigree," he comments.
The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His story, he feels, is a testament to the power of pursuing your passions.
What would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."
He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."
