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

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, today a more divisive political force stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.

According to Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"Those in a position of influence should use it," he comments, explaining those editorial decisions. "Everyone talks 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 believed in. I believe this phase will fade."

A New Wave of Consciousness

He takes comfort in the younger 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 shape a pioneering career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of adversity, including well-documented periods of mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, 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."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the right pedigree," he observes.

The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His path, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."