The fashion icon Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
A Cultural Backslide
This shift is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political force appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the solution has always been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from literature.
"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this period will pass."
The Younger Generation's Awareness
He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."
His formative years would shape a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.
Launching a Creative Venture
He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".
"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."
In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including openly discussed periods of depression and addiction.
He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, 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 figure in fashion."
The Tate Britain Exhibition
This determination to be typecast has propelled him beyond the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"Galleries often failed to shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.
The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."
Looking Forward Without Fear
Today, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a proof to the power of following your instincts.
What would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."