Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the Blair era, today a different political personality looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.

"People with a voice should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career built on boldness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has involved adversity, including well-documented periods of mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, 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 figure in fashion."

Curating a Cultural Era

This drive to fit into a box has propelled him beyond the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the right artists because they weren't of the right pedigree," he observes.

This venture itself uses a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of defying expectations.

What would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."