Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, today a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate 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 portrait of modern Britain, showcasing a diverse array of prominent faces from art.

"People with a voice should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would define a trailblazing career marked by boldness and representation. Enninful broke barriers 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 leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of 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, now leaving him with limited vision. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all 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 determination to be typecast has propelled him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Galleries often failed to celebrate the most relevant talents because they lacked the traditional credentials," he comments.

This venture itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.

How would the younger Edward react to the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."