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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic 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 I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, currently a different political figure stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has long been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from politics.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved challenges, including well-documented struggles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Institutions often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected creative power brokers. His path, he states, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."