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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, today a different political personality looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from literature.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has involved challenges, including well-documented struggles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him beyond the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"The establishment often failed to celebrate the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a proof to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. 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 entire life. But no obstacle is too great once I’ve set my intention to do something."