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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, today a more divisive political figure appears as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has always 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 portrait of modern Britain, showcasing a diverse array of cultural icons from politics.

"People with a voice should wield 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 open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has involved adversity, including openly discussed periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful 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 be typecast has led him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he states.

This project itself uses a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of following your instincts.

How would the younger Edward make of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."