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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political force looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from politics.

"Those in a position of influence should wield it," he comments, 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 did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to adversity, including well-documented struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him away from the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Institutions sometimes neglected to promote the most relevant talents because they weren't of the expected background," he observes.

This project itself operates on a different strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era make of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."