Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."
While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "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 regression is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from art.
"Those in a position of influence should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this period will end."
The Younger Generation's Awareness
He draws solace in the youth of today: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."
His formative years would define a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".
"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."
Defying the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including well-documented struggles with depression and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This drive to fit into a box has led him away from the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.
"Institutions didn't always promote the right artists because they lacked the expected background," he observes.
The magazine 72 itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."
An Unstoppable Drive
Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a proof to the power of following your instincts.
How would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."
He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."
