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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the previous decade, currently a different political force looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has long been to celebrate 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 portrait of modern Britain, featuring a wide range of influential figures from literature.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope 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 analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity between worlds."

Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including publicly shared periods of depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place for two years, not working, 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 is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him beyond the industry that established him. He is now organising a significant 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 adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they did not have the expected background," he states.

This project itself functions with a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of defying expectations.

What would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."