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

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, today a different political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. 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 diverse array of influential figures from art.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has involved adversity, including well-documented struggles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured 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 prayed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the expected background," he states.

This venture itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."