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

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from art.

"People with a voice should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would define a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. 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 physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has involved adversity, including publicly shared struggles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, 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 passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he observes.

The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

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

What would the Enninful of that era react to the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."