Edward Enninful discusses Today's Society: 'Britain Feels 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. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the Britart scene – 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 kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. In place of the hope of the late 90s, currently a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has long been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from art.

"Individuals with a platform should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would forge a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. 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 was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has inspired him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the right artists because they weren't of the traditional credentials," he comments.

This venture itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."