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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the resurgence of populist movements, 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 figure appears as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the solution has long been to champion 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 snapshot of modern Britain, including a diverse array of prominent faces from art.

"People with a voice should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will pass."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of hardship, including openly discussed battles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s like 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 scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him beyond the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always promote the most relevant talents because they weren't of the traditional credentials," he comments.

This venture itself uses a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of defying expectations.

How would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."