Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
A Perceived Regression
This shift is increasingly evident: the rise of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, now a different political figure appears as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.
For Enninful, the response has always been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from politics.
"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will fade."
A New Wave of Consciousness
He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."
The beginnings of his career would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".
"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."
In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and exudes calm. His life has included its share of hardship, including well-documented struggles with mental health and addiction.
He has also faced serious 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 lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has propelled him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing 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 did not receive a spotlight at the time.
"The establishment didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he states.
This project itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions.
How would the Edward of the 90s make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
