Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a more divisive political force stands as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to champion 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 celebration of modern Britain, showcasing a wide range of influential figures from music.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His journey has not been immune to adversity, including publicly shared periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has inspired him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Galleries didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

This venture itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."