Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, today a different political personality looms as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to champion culture in all its variety. 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 wide range of prominent faces from art.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would shape a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, 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 fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him beyond the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"The establishment often failed to shine a light on the right artists because they lacked the expected background," he observes.

This project itself functions with a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."