Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
While Enninful may seem nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
A Cultural Backslide
This shift is hard to ignore: the rise of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.
According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music.
"People with a voice should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will pass."
A New Wave of Consciousness
He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."
Those early experiences would shape a trailblazing career marked by boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.
"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
Launching a Creative Venture
He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".
"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."
In contrast to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has involved hardship, including openly discussed battles with mental health and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."
A Foray into Curation
This determination to be defined narrowly has led him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.
"Galleries didn't always promote the most relevant talents because they weren't of the traditional credentials," he comments.
This venture itself functions with a unique approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."
An Unstoppable Drive
Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a proof to the power of following your instincts.
How would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
