Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, currently a different political figure appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the response has consistently been to celebrate 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 celebration of modern Britain, featuring a diverse array of prominent faces from politics.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would forge a trailblazing career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

Defying the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of challenges, including publicly shared periods of depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Institutions often failed to promote the right artists because they did not have the traditional credentials," he comments.

This venture itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."