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

A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

If Enninful sounds wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes 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 everywhere."

Shifting Attitudes

This change is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure stands as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

In Enninful's view, the solution has long been to promote 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 celebration of modern Britain, showcasing a diverse array of prominent faces from literature.

"Individuals with a platform should use it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would define a groundbreaking career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Defying the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including well-documented battles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has led him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always promote the right artists because they did not have the right pedigree," he states.

This venture itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful creative power brokers. His path, he believes, is a proof to the power of pursuing your passions.

What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."