Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the rise of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, currently a different political figure appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from politics.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this moment will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to challenges, including publicly shared battles with depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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 figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has led him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to promote the most relevant talents because they did not have the expected background," he observes.

The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. 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."