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

An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the resurgence of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from literature.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this period will pass."

Hope in the Next Generation

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

His formative years would define a pioneering career built on boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including openly discussed battles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has led him outside the realm that established him. 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 capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they did not have the traditional credentials," he states.

The magazine 72 itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of defying expectations.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."