Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
Although Enninful appears sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This shift is increasingly evident: the rise of populist movements, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political personality stands as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.
In Enninful's view, the solution has long been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from literature.
"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this period will pass."
A New Wave of Consciousness
He takes comfort in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."
The beginnings of his career would shape a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.
"Ignoring huge sections 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 new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."
Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has included its share of hardship, including publicly shared struggles with depression and substance use.
He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has propelled him away from the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.
"Institutions sometimes neglected to shine a light on the right artists because they weren't of the expected background," he observes.
The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions.
What would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."