Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a more divisive political figure appears as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from art.

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

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including well-documented battles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, away from work, fearing 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 do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him away from the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he observes.

This project itself functions with a novel strategy, rejecting 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 part of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he states, is a proof to the power of defying expectations.

How would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."