Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi 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 energy."
Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."
Shifting Attitudes
This regression is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, today a different political personality appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.
For Enninful, the solution has long been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from music.
"Those in a position of influence should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this moment will pass."
The Younger Generation's Awareness
He finds hope in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."
The beginnings of his career would forge a pioneering career marked by 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 assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."
Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including publicly shared periods of depression and substance use.
He has also faced serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be typecast has propelled him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.
"Galleries didn't always promote the truly innovative creators because they weren't of the traditional credentials," he observes.
This project itself uses a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Today, Enninful stands as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of pursuing your passions.
How would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
