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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. 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 yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the rise of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political personality stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has long been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end."

The Younger Generation's Awareness

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

Those early experiences would forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and projects peace. His path has involved challenges, including publicly shared periods of mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him outside the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the right artists because they did not have the traditional credentials," he comments.

This venture itself uses a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential creative power brokers. His journey, he feels, is a demonstration to the power of defying expectations.

What would the younger Edward think of the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."