Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, now a different political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.

"Individuals with a platform should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people 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 explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved adversity, including publicly shared periods of mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 fit into a box has propelled him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions didn't always celebrate the right artists because they did not have the expected background," he states.

This project itself uses a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a proof to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."