Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
A Cultural Backslide
This change is difficult to overlook: the rise of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, currently a more divisive political force stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.
In Enninful's view, the response has consistently been to champion culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.
"Individuals with a platform should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this period will fade."
Hope in the Next Generation
He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."
His formative years would shape a trailblazing career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "innovator".
"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."
In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of challenges, including publicly shared battles with mental health and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like 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 limit myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has led him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.
"The establishment often failed to promote the truly innovative creators because they did not have the right pedigree," he comments.
The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Now, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of pursuing your passions.
How would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
