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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the growth of far-right politics, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from music.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved hardship, including openly discussed struggles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"Institutions sometimes neglected to celebrate the right artists because they lacked the expected background," he comments.

The magazine 72 itself uses a unique strategy, 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."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential cultural influencers. His story, he states, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."