Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
While Enninful may seem nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."
Shifting Attitudes
This shift is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, today a different political personality appears as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from politics.
"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will end."
A New Wave of Consciousness
He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."
The beginnings of his career would forge a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.
"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.
Beyond the Magazine World
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."
In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has involved challenges, including well-documented battles with mental health and substance use.
He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, 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."
A Foray into Curation
This determination to fit into a box has inspired him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"Galleries sometimes neglected to shine a light on the right artists because they weren't of the expected background," he comments.
The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."
An Unstoppable Drive
Today, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.
How would the Enninful of that era make of the his current self? He chuckles. "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 a place for someone like me."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
