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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a different political force stands as a potential leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from literature.

"People with a voice should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this period will pass."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has included its share of challenges, including openly discussed periods of mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has inspired him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always promote the most relevant talents because they lacked the traditional credentials," he comments.

The magazine 72 itself operates on a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, 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."