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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. 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 socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political force appears as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from politics.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would define a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has involved hardship, including openly discussed struggles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything 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 typecast has led him away from the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"The establishment didn't always promote the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a testament to the power of defying expectations.

What would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."