Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.
"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell 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."
Although Enninful appears sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."
A Perceived Regression
This change is hard to ignore: the rise of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, now a different political force looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.
In Enninful's view, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of influential figures from literature.
"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will pass."
The Younger Generation's Awareness
He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."
The beginnings of his career would shape a pioneering career characterised by fearlessness and inclusivity. 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 time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.
"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.
A New Chapter as a 'Disruptor'
He has established 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 constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."
In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved hardship, including openly discussed struggles with mental health and addiction.
He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This determination to be typecast has inspired him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"Institutions often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.
This project itself functions with a different strategy, forgoing 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 greater ecosystem."
Looking Forward Without Fear
Today, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of defying expectations.
What would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We fled, we fled our country. 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 decided to do something."