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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political figure looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from politics.

"People with a voice should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this phase will end."

The Younger Generation's Awareness

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

His formative years would forge a pioneering career built on fearlessness and diversity. 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 tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to challenges, including well-documented battles with depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has inspired him outside the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Galleries often failed to shine a light on the most relevant talents because they did not have the right pedigree," he states.

This project itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."