Edward Enninful on Today's Society: 'A Decline in Tolerance' Than in the 90s.

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore huge sections 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 since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of hardship, including openly discussed struggles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him outside the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"The establishment often failed to promote the truly innovative creators because they did not have the traditional credentials," he observes.

This project itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He smiles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."