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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, currently a different political figure appears as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from literature.

"Individuals with a platform should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will fade."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

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

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has included its share of hardship, including publicly shared periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 determination to fit into a box has propelled him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

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

This project itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? 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 story, he states, is a demonstration 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 proud. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."