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

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "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."

A Cultural Backslide

This shift is difficult to overlook: the rise of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, now a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from art.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a groundbreaking career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

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

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has not been immune to challenges, including publicly shared periods of mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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 fashion person."

The Tate Britain Exhibition

This drive to fit into a box has led him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the truly innovative creators because they weren't of the expected background," he states.

This venture itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of following your instincts.

How would the younger Edward make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."