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

A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the growth of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from art.

"People with a voice should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career built on boldness and diversity. Enninful made history 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 leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

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

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of challenges, including well-documented battles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, anxious I was going to go blind. 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 do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Galleries didn't always shine a light on the right artists because they lacked the traditional credentials," he states.

The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."