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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the growth of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, today a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the antidote has always been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature.

"People with a voice should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this phase will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of hardship, including openly discussed periods of mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, terrified I was going to go blind. 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 limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has inspired him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they weren't of the expected background," he observes.

This venture itself functions with a novel business model, rejecting 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 a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he believes, is a testament to the power of defying expectations.

How would the younger Edward react to the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."