Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."
If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This change is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.
According to Enninful, the antidote has consistently been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from literature.
"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this phase will fade."
The Younger Generation's Awareness
He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."
The beginnings of his career would forge a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.
"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
Beyond the Magazine World
He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."
In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved challenges, including publicly shared battles with depression and substance use.
He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to be defined narrowly has led him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.
"The establishment often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.
This project itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."
A Testament to Resilience
Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a testament to the power of following your instincts.
What would the younger Edward think of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."
