Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.
A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."
If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."
A Perceived Regression
This shift is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from politics.
"People with a voice should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this phase will end."
A New Wave of Consciousness
He takes comfort in the next 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 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 tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.
"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.
A New Chapter as a 'Disruptor'
He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."
In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including openly discussed battles with depression and substance use.
He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
The Tate Britain Exhibition
This determination to be defined narrowly has inspired him outside the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.
"The establishment often failed to promote the right artists because they did not have the traditional credentials," he states.
This venture itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."
Looking Forward Without Fear
Now, Enninful operates as one of the world's most respected industry leaders. His story, he states, is a proof to the power of defying expectations.
How would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
