Enharmonic equivalence is something different altogether, e.g. when an F-sharp and a G-flat result in the same note, making them different spellings for the same thing.
In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. Thus, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord.
Maybe the chord version of it is more of a jazz thing. You know those coked up cats can be a little loose with the specifics!
The different interpretations of "CFG" are more likely to serve a functional differentiation, e.g. assuming we're in the key of C: Csus4 is probably a "true" suspension on the tonic, while Fsus2 would be a "colored" subdominant chord.
Sure we're in the key of C, but I'm implying the 4th, the F more than anything. Also sus4 gets way to much love, we don't want to hurt sus2's feelings!
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