Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.
A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This regression is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a more divisive political force appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from art.
"People with a voice should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will pass."
A New Wave of Consciousness
He takes comfort in the younger generation: "They are far more conscious than we were. They analyse 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 made history as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.
"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.
Beyond the Magazine World
He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."
Defying the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including publicly shared periods of mental health and addiction.
He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 fashion person."
Curating a Cultural Era
This drive to fit into a box has inspired him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.
"Galleries didn't always celebrate the most relevant talents because they lacked the right pedigree," he observes.
This venture itself functions with a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions.
How would the younger Edward make of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
