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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a different political force looms as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has always been to promote 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 prominent faces from literature.

"Those in a position of influence should use it," he says, discussing those publishing choices. "People often debate 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 education. That’s the Britain I always loved. I hope this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would forge a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has not been immune to adversity, including publicly shared periods of depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has inspired him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

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

This project itself uses a novel approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of defying expectations.

What would the younger Edward react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly 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 made up my mind to do something."