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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the Blair era, today a different political figure appears as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has consistently been to celebrate 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 wide range of prominent faces from literature.

"People with a voice should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this phase will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has inspired him beyond the world that made his name. He is now putting together a significant 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 creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to promote the right artists because they lacked the traditional credentials," he comments.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."