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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political personality appears as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from politics.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "People often debate 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 education. That’s the Britain I cherished. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has included its share of adversity, including openly discussed periods of mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, fearing 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 restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he comments.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era make of the his current self? He chuckles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."