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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a different political figure stands as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from music.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. 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 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."

Curating a Cultural Era

This refusal to fit into a box has led him away from the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to celebrate the right artists because they did not have the right pedigree," he states.

The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected industry leaders. His journey, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."