Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height 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 felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from politics.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will end."

Hope in the Next Generation

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

The beginnings of his career would shape a trailblazing career built on fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

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

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including well-documented struggles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s like 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 fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has propelled him away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Galleries often failed to promote the right artists because they did not have the traditional credentials," he comments.

This project itself operates on a novel strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s make of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."