Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – 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 great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the late 90s, today a different political figure stands as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

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

The beginnings of his career would forge a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion 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 radiates serenity. His path has involved challenges, including well-documented struggles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has inspired him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Galleries didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he comments.

This project itself operates on a unique approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful cultural influencers. His path, he feels, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."