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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the rise of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a more divisive political force looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from politics.

"People with a voice should use it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position 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 cherished. I trust this phase will end."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would define a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."

Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including well-documented periods of depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has inspired him away from the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Institutions often failed to celebrate the truly innovative creators because they weren't of the right pedigree," he comments.

This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."