Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."
If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
Shifting Attitudes
This change is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Replacing the hope of the late 90s, currently a different political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.
For Enninful, the response has always been to champion culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from music.
"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."
The Younger Generation's Awareness
He finds hope in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."
The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of adversity, including publicly shared struggles with depression and substance use.
He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. 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 pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to fit into a box has inspired him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.
"Institutions didn't always celebrate the right artists because they weren't of the expected background," he comments.
This project itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.
What would the Enninful of that era make of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."