Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political figure looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the antidote has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from literature.
"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 welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade."
A New Wave of Consciousness
He draws solace in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."
The beginnings of his career would shape a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."
Contrary to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has involved challenges, including openly discussed periods of depression and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to be defined narrowly has propelled him beyond the realm that built his career. He is now putting together a major 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 artistic collaboration – and give platform to those who weren't given a spotlight at the time.
"Galleries sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he comments.
The magazine 72 itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."
Looking Forward Without Fear
Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a proof to the power of pursuing your passions.
What would the Enninful of that era think of the man he has become? He smiles. "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 adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."