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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political personality appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from art.

"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass."

The Younger Generation's Awareness

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

Those early experiences would forge a pioneering career characterised by fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has included its share of adversity, including well-documented battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him beyond the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group 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 lacked due recognition at the time.

"Galleries didn't always promote the right artists because they weren't of the expected background," he states.

The magazine 72 itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."