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 course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That era was the zenith 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 close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
While Enninful may seem nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Perceived Regression
This change is difficult to overlook: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a different political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.
For Enninful, the response has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from politics.
"People with a voice should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will end."
The Younger Generation's Awareness
He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."
His formative years would forge a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.
Launching a Creative Venture
He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."
In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has included its share of adversity, including publicly shared battles with mental health and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in 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 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 restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to be defined narrowly has led him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.
"Institutions often failed to celebrate the truly innovative creators because they weren't of the expected background," he states.
This project itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a demonstration 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 proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."
