Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the rise of nationalist groups, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political personality looms as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the response has long been to celebrate 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 portrait of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim 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 physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His journey has included its share of hardship, including well-documented struggles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Institutions didn't always promote the right artists because they did not have the traditional credentials," he comments.

This project itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."