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

An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, today a different political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has always been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His life has involved adversity, including publicly shared periods of depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he states.

This project itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."