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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – 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 kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, currently a different political force stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from literature.

"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would shape a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. 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 subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved adversity, including well-documented struggles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has propelled him outside the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they weren't of the expected background," he states.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

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

How would the younger Edward make of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."