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

An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the rise of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a different political figure stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to promote 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 diverse array of prominent faces from politics.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open 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 end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would forge a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted 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 on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has not been immune to challenges, including publicly shared struggles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they did not have the traditional credentials," he states.

This venture itself operates on a different business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

What would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."