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

An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the Blair era, currently a different political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. 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 diverse array of cultural icons from literature.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would define a pioneering career marked by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including publicly shared struggles with depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, 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 fashion person."

Curating a Cultural Era

This drive to fit into a box has propelled him away from the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the right pedigree," he comments.

The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s make of the man he has become? He smiles. "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 necessarily for me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."