Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

For Enninful, the antidote has always been to champion culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music.

"People with a voice should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved challenges, including well-documented battles with depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him beyond the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he comments.

The magazine 72 itself operates on a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a proof to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."