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

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political figure looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the solution 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 cultural icons from politics.

"People with a voice should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would forge a groundbreaking career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to hardship, including well-documented periods of depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him outside the realm 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 explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the most relevant talents because they weren't of the expected background," he comments.

The magazine 72 itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of following your instincts.

What would the Enninful of that era think of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."