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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the Young British Artists – 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 close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the growth of nationalist groups, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a different political personality looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the response has long been to promote 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 celebration of modern Britain, featuring a diverse array of influential figures from music.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would define a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his new venture 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 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, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of hardship, including publicly shared battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him beyond the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the expected background," he observes.

This venture itself uses a different strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

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

What would the younger Edward react to the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."