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

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the zenith of the YBA movement – 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 close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, currently a different political figure appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

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

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including openly discussed periods of depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to 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 fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has propelled him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they lacked the expected background," he observes.

This venture itself uses a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most powerful cultural influencers. His story, he feels, is a demonstration to the power of following your instincts.

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

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."