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

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, now a different political figure looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has always been to promote culture in all its variety. This was the guiding principle 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 music.

"Individuals with a platform should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career built on boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"Ignoring large portions 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 new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned 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, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of hardship, including publicly shared struggles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries didn't always celebrate the most relevant talents because they did not have the traditional credentials," he comments.

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."