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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political force appears as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the solution has always been to promote culture in all its diversity. 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 wide range of cultural icons from literature.

"People with a voice should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including openly discussed periods of depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 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 figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has propelled him outside the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he states.

The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a demonstration to the power of following your instincts.

What would the younger Edward make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."