Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the growth of populist movements, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the response has long been to promote 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, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers 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 tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of challenges, including publicly shared struggles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period 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 vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has propelled him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Institutions often failed to shine a light on the right artists because they lacked the right pedigree," he comments.

The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential cultural influencers. His story, he believes, is a proof to the power of defying expectations.

What would the younger Edward make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."