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

A chance encounter on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the growth of nationalist groups, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the hope of the previous decade, currently a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has consistently 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 snapshot of modern Britain, including a broad spectrum of cultural icons from music.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would shape a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. 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 became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including openly discussed struggles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has propelled him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

This project itself functions with a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he believes, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."