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

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from art.

"Individuals with a platform should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

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

Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history 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 historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of hardship, including well-documented battles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment often failed to shine a light on the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His story, he believes, is a testament to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."