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

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time 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 understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, today a different political force appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from music.

"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would define a trailblazing career characterised by fearlessness and representation. Enninful made history as the first man, 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 people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has involved hardship, including openly discussed battles with mental health and substance use.

He has also undergone 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, away from work, terrified I was going to lose my sight. 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 fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him outside the realm that built his career. He is now putting together a seminal 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 explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.

This project itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."