Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
While Enninful may seem sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
A Cultural Backslide
This change is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, today a different political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.
According to Enninful, the antidote has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.
"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will end."
The Younger Generation's Awareness
He draws solace in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."
His formative years would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."
In contrast to the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has involved adversity, including openly discussed battles with depression and addiction.
He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. 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 do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to fit into a box has led him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.
"Institutions didn't always promote the right artists because they weren't of the expected background," he observes.
This project itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of following your instincts.
How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
