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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a different political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from music.

"Those in a position of influence should use it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including well-documented periods of mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in 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 live in fear 24/7. I vowed, if this ever passes, 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 figure in fashion."

A Foray into Curation

This determination to fit into a box has led him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to celebrate the right artists because they weren't of the right pedigree," he comments.

This venture itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."