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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

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

If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from music.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will pass."

Hope in the Next Generation

He finds hope 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."

The beginnings of his career would forge a trailblazing career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid 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 be typecast has inspired him away from the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

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

The magazine 72 itself operates on a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

What would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."