Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
A Cultural Backslide
This shift is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a different political force looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
According to Enninful, the solution has long 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 wide range of influential figures from art.
"People with a voice should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."
Hope in the Next Generation
He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."
Those early experiences would define a trailblazing career built on fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
Beyond the Magazine World
He has established his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".
"I’ve always questioned the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside."
Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His life has included its share of hardship, including publicly shared battles with depression and addiction.
He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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 figure in fashion."
Curating a Cultural Era
This drive to be typecast has led him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.
"The establishment didn't always promote the most relevant talents because they weren't of the expected background," he comments.
This venture itself uses a novel business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most powerful industry leaders. His story, he believes, is a demonstration to the power of pursuing your passions.
What would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."