Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a different political force looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused 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 takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving 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 the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His path has included its share of adversity, including openly discussed battles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to 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 afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him outside the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he comments.

This venture itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."