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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, currently a different political figure appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from literature.

"Individuals with a platform should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would define a trailblazing career marked by boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has involved challenges, including publicly shared struggles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the right artists because they lacked the right pedigree," he observes.

This venture itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

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

How would the Enninful of that era react to 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 within my reach."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."