Edward Enninful reflects on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This change is difficult to overlook: the rise of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, today a different political force looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from art.
"Individuals with a platform should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will fade."
The Younger Generation's Awareness
He draws solace in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."
Those early experiences would shape a pioneering career built on boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.
Launching a Creative Venture
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was born and raised 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 painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."
Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to adversity, including well-documented battles with mental health and addiction.
He has also faced serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place 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 is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This refusal to be defined narrowly has inspired him beyond the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.
"Galleries didn't always shine a light on the truly innovative creators because they did not have the expected background," he observes.
This project itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of following your instincts.
How would the Enninful of that era make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."
