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 trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This regression is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a different political figure looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.
For Enninful, the solution has consistently been to promote 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, showcasing a diverse array of influential figures from politics.
"Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this period will fade."
The Younger Generation's Awareness
He draws solace in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."
The beginnings of his career would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales grew.
"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
Launching a Creative Venture
He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".
"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."
Defying the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has included its share of hardship, including publicly shared periods of depression and addiction.
He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period 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 prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This drive to be typecast has propelled him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.
"Institutions didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he comments.
This venture itself functions with a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions.
How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, 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 lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."