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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the peak of the Britart scene – 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 great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, now a different political personality appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the antidote has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from art.

"People with a voice should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career marked by boldness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.

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

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including publicly shared struggles with depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has propelled him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His story, he believes, is a proof to the power of pursuing your passions.

What would the younger Edward react to the man he has become? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."