Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from literature.

"People with a voice should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will end."

Hope in the Next Generation

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

The beginnings of his career would define a trailblazing career built on boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of challenges, including openly discussed struggles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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."

Curating a Cultural Era

This drive to be typecast has led him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the truly innovative creators because they lacked the expected background," he comments.

This venture itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

What would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."