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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – 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 mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from art.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will end."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would shape a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

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

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – 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 declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of hardship, including publicly shared periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Institutions often failed to celebrate the right artists because they did not have the expected background," he observes.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he feels, is a testament to the power of pursuing your passions.

How would the Enninful of that era make of the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."