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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, today a different political figure looms as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

For Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from literature.

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this phase will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would define a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity between worlds."

Defying the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has involved adversity, including publicly shared battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, 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 fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he comments.

The magazine 72 itself functions with a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected creative power brokers. His story, he believes, 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 proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."