Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."
Although Enninful appears wistful, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is hard to ignore: the resurgence of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political force stands as a possible leader. Even, the British flag, once an badge of Cool Britannia, has sparked debate once more.
In Enninful's view, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from politics.
"People with a voice should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."
The beginnings of his career would define a pioneering career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."
Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including publicly shared periods of mental health and addiction.
He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to fit into a box has led him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.
"Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he states.
The magazine 72 itself uses a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions.
What would the Edward of the 90s react to the his current self? He smiles. "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 within my reach."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."
