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

A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

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

If Enninful sounds sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the resurgence of populist movements, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political personality stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from politics.

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to hardship, including well-documented periods of mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, 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 figure in fashion."

A Foray into Curation

This determination to be typecast has propelled him beyond the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the expected background," he observes.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected cultural influencers. His journey, he believes, is a proof to the power of defying expectations.

How would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."