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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a significant change. "I believe, 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 hard to ignore: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, today a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from music.

"People with a voice should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to adversity, including well-documented periods of depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, anxious 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 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."

The Tate Britain Exhibition

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

"Institutions sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he states.

This venture itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."