Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political figure looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would forge a pioneering career marked by boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has included its share of adversity, including publicly shared battles with mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, 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."

Curating a Cultural Era

This drive to fit into a box has propelled him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he observes.

The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

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

How would the Edward of the 90s react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."