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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "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 rawness."

If Enninful sounds wistful, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "I feel, 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 increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has always been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from literature.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has included its share of adversity, including publicly shared periods of mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to 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 confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he comments.

This project itself functions with a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a testament to the power of defying expectations.

What would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."