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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the growth of far-right politics, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, now a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has become contentious again.

According to Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from politics.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and diversity. Enninful set a precedent 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 Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including well-documented struggles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

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

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

How would the younger Edward react to the man he has become? He chuckles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."