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

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor 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 states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the solution has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from politics.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His life has included its share of adversity, including publicly shared battles with mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him beyond the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he observes.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

What would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."