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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met 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 became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the response has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would shape a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants 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 doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including openly discussed struggles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, terrified 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 pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has inspired him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the traditional credentials," he comments.

This venture itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."