Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."
If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Perceived Regression
This regression is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from politics.
"Those in a position of influence should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."
A New Wave of Consciousness
He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."
His formative years would shape a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.
"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.
Beyond the Magazine World
He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to hardship, including openly discussed periods of depression and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s similar 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 fearful 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 be typecast has propelled him outside the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.
"Institutions often failed to promote the truly innovative creators because they lacked the traditional credentials," he comments.
This venture itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most influential cultural influencers. His path, he states, is a proof to the power of following your instincts.
What would the Enninful of that era think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
