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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the peak 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 close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, now a more divisive political force looms as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from art.

"Individuals with a platform should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this period will fade."

The Younger Generation's Awareness

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

The beginnings of his career would forge a groundbreaking career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including openly discussed battles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, 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 restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he comments.

This venture itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

How would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."