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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, currently a different political figure appears as a potential leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has involved challenges, including well-documented struggles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has inspired him away from the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he states.

This project itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

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

What would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."