Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This regression is difficult to overlook: the resurgence of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, today a different political force appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from politics.
"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I hope this period will fade."
Hope in the Next Generation
He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."
His formative years would shape a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales grew.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.
A New Chapter as a 'Disruptor'
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".
"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."
Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and projects peace. His path has not been immune to adversity, including openly discussed periods of depression and substance use.
He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be defined narrowly has propelled him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.
"The establishment often failed to promote the right artists because they lacked the right pedigree," he observes.
The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."
Looking Forward Without Fear
Today, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of defying expectations.
How would the Edward of the 90s make of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."
