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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political force looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the response has always been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from art.

"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 were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will fade."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said 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."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of hardship, including openly discussed periods of depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, 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 refusal to be defined narrowly has propelled him outside the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he observes.

The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.

How would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."