Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Compared to the Nineties.
An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.
"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
Although Enninful appears sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "In my view, 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 rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, now a more divisive political figure stands as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.
"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will end."
The Younger Generation's Awareness
He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."
The beginnings of his career would shape a pioneering career built on 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 take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.
Beyond the Magazine World
He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, 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 harassed under the suspicion laws … all that gave me a dual identity between worlds."
Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to challenges, including openly discussed struggles with mental health and substance use.
He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. 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 do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to be defined narrowly has led him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.
"Institutions didn't always promote the truly innovative creators because they weren't of the expected background," he observes.
This project itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.
What would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."