Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."
If Enninful sounds nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This shift is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the return of traditional beauty standards. Replacing the optimism of the Blair era, now a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from music.
"People with a voice should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will pass."
The Younger Generation's Awareness
He draws solace in the next generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."
His formative years would shape a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales increased.
"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.
Launching a Creative Venture
He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator".
"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."
In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including publicly shared periods of mental health and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has inspired him away from the realm that established him. He is now putting together a major 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 interdisciplinary energy – and highlight those who did not receive a spotlight at the time.
"The establishment often failed to promote the right artists because they weren't of the expected background," he states.
This project itself operates on a unique strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."
A Testament to Resilience
Today, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of pursuing your passions.
How would the younger Edward think of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."
