Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than in the 90s.
A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, 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 states. "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 yearn for that rawness."
Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This regression is hard to ignore: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political force appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.
For Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from art.
"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."
A New Wave of Consciousness
He draws solace 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 define a pioneering career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.
"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.
Beyond the Magazine World
He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".
"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective on the inside and the outside."
In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including openly discussed battles with mental health and addiction.
He has also endured significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be defined narrowly has inspired him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.
"The establishment often failed to promote the truly innovative creators because they lacked the right pedigree," he comments.
The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of pursuing your passions.
What would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He adds. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
