Edward Enninful on Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met 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 bled into Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the Blair era, now a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I hope this moment will fade."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"When you ignore large portions 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 established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including openly discussed battles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has propelled him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the right artists because they did not have the expected background," he states.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s react to the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."