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

A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a significant change. "I believe, we’re more divided 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 hard to ignore: the growth of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, today a more divisive political personality stands as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from art.

"People with a voice should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "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 marked by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore huge sections 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 established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including publicly shared periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. 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 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."

The Tate Britain Exhibition

This refusal to be typecast has inspired him away from the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Galleries sometimes neglected to promote the most relevant talents because they did not have the expected background," he observes.

This project itself functions with a different strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era make of the his current self? 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 a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."