Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."
A Perceived Regression
This change is increasingly evident: the growth of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.
For Enninful, the solution has always been to promote 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, featuring a diverse array of prominent faces from music.
"Those in a position of influence should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this moment will end."
A New Wave of Consciousness
He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."
The beginnings of his career would shape a trailblazing career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.
"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.
Launching a Creative Venture
He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".
"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."
Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including openly discussed periods of depression and substance use.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so scared 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 propelled him away from the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.
"The establishment didn't always promote the right artists because they did not have the traditional credentials," he comments.
The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a testament to the power of defying expectations.
What would the Enninful of that era think of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were within my reach."
He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
