Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.
An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."
Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This change is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. Replacing the hope of the previous decade, today a different political personality appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.
In Enninful's view, the response has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music.
"Those in a position of influence should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this phase will end."
The Younger Generation's Awareness
He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."
The beginnings of his career would forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.
Beyond the Magazine World
He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".
"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider."
Contrary to the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His journey has included its share of adversity, including publicly shared battles with mental health and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to 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 fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This refusal to be defined narrowly has led him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.
"Galleries didn't always promote the truly innovative creators because they weren't of the traditional credentials," he observes.
The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."
A Testament to Resilience
Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a demonstration to the power of following your instincts.
What would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."