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

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political personality appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from politics.

"People with a voice should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would forge a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of hardship, including openly discussed battles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a difficult period 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 prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Galleries didn't always celebrate the most relevant talents because they lacked the traditional credentials," he states.

This project itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected industry leaders. His journey, he believes, is a testament to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, 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 I am unstoppable once I’ve made up my mind to do something."