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

A serendipitous meeting during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, now a different political personality stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

For Enninful, the antidote has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including well-documented battles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful 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 propelled him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself functions with a novel strategy, forgoing 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 one component of a larger creative platform."

Looking Forward Without Fear

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

What would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."