Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
Shifting Attitudes
This change is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the return of narrow beauty standards. Replacing the optimism of the previous decade, now a different political force appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.
"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this period will fade."
The Younger Generation's Awareness
He finds hope in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."
His formative years would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.
"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."
Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of adversity, including well-documented struggles with depression and addiction.
He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to fit into a box has inspired him beyond the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.
"Galleries didn't always promote the right artists because they weren't of the traditional credentials," he observes.
This project itself uses a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.
What would the younger Edward react to the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."