Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "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 miss that rawness."
If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This shift is hard to ignore: the growth of populist movements, the backlash against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.
For Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from music.
"Those in a position of influence should wield it," he says, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will end."
Hope in the Next Generation
He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."
His formative years would forge a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.
"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective both an insider and outsider."
Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including publicly shared periods of depression and substance use.
He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to fit into a box has led him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.
"The establishment often failed to shine a light on the most relevant talents because they did not have the right pedigree," he states.
This venture itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a proof to the power of defying expectations.
How would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."
