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

A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the rise of populist movements, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, now a different political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from literature.

"Those in a position of influence should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will end."

The Younger Generation's Awareness

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

Those early experiences would forge a trailblazing career characterised by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including openly discussed periods of mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to 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 scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him away from the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."