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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time 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 kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the late 90s, now a more divisive political figure stands as a possible leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the antidote has long been to champion 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 celebration of modern Britain, showcasing a broad spectrum of influential figures from art.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this moment will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has involved challenges, including openly discussed battles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"Galleries sometimes neglected to promote the right artists because they did not have the expected background," he comments.

This venture itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."