Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the rise of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has long been to celebrate 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 celebration of modern Britain, including a broad spectrum of influential figures from literature.

"People with a voice should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including well-documented battles with mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him outside the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he states.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

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

How would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."