Edward Enninful reflects on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the Blair era, now a different political figure stands as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would forge a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture 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 "innovator".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has included its share of adversity, including publicly shared periods of depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "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 exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine 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 away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always celebrate the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."