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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation 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. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the resurgence of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, now a different political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the solution has always been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from literature.

"Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this phase will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would define a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including publicly shared struggles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 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 confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"Institutions often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question 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

Currently, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."