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

A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the zenith 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 knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the Blair era, today a more divisive political figure appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from art.

"Those in a position of influence should use it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this phase will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a trailblazing career built on fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

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

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His path has involved hardship, including openly discussed battles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured 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 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 propelled him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they lacked the expected background," he observes.

This venture itself uses a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of pursuing your passions.

How would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."