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 course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."
If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."
A Cultural Backslide
This shift is increasingly evident: the rise of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political figure looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.
According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from art.
"People with a voice should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this period will pass."
A New Wave of Consciousness
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."
The beginnings of his career would shape a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.
"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.
Launching a Creative Venture
He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including publicly shared battles with depression and substance use.
He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be defined narrowly has inspired him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.
"Galleries didn't always shine a light on the most relevant talents because they did not have the right pedigree," he observes.
The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most powerful industry leaders. His story, he states, is a testament to the power of defying expectations.
How would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."