Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"That era was the peak of the Young British Artists – 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 rolled into Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
Shifting Attitudes
This change is difficult to overlook: the rise of nationalist groups, the pushback against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.
According to Enninful, the solution has consistently been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from literature.
"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I trust this phase will fade."
A New Wave of Consciousness
He takes comfort in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."
Those early experiences would forge a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
Beyond the Magazine World
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."
Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including publicly shared periods of mental health and substance use.
He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, 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 figure in fashion."
The Tate Britain Exhibition
This drive to be defined narrowly has led him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.
"Galleries sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he states.
This project itself operates on a unique strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of following your instincts.
What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."
