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

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the resurgence of populist movements, the reaction against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, today a different political figure looms as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the solution has always 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 snapshot of modern Britain, showcasing a diverse array of prominent faces from literature.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would define a pioneering career marked 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 lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

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

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has included its share of hardship, including openly discussed struggles with depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the realm that built his career. He is now putting together a major 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 explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Galleries didn't always promote the right artists because they weren't of the right pedigree," he observes.

This project itself functions with a unique approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he states, is a testament to the power of pursuing your passions.

What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."