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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, today a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the solution has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from art.

"People with a voice should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will end."

The Younger Generation's Awareness

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

Those early experiences would forge a pioneering career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including publicly shared battles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, terrified 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 pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has inspired him away from the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"Institutions didn't always promote the truly innovative creators because they weren't of the traditional credentials," he observes.

This project itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a testament to the power of defying expectations.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."