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

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, today a more divisive political force stands as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this period will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. 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 found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and projects peace. His journey has included its share of adversity, including openly discussed struggles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, 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 embrace every opportunity 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 determination to fit into a box has inspired him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Galleries didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."