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

A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the antidote 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 broad spectrum of influential figures from literature.

"Those in a position of influence should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

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

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of challenges, including well-documented struggles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has led him outside the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they lacked the expected background," he comments.

The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of defying expectations.

What would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."