Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the growth of far-right politics, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, today a different political figure looms as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from literature.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this period will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

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

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His journey has involved adversity, including publicly shared battles with depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything 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 refusal to fit into a box has led him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he states.

This project itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

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

How would the younger Edward think of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."