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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, 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 a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, now a more divisive political figure stands as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from politics.

"People with a voice 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 lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will fade."

Hope in the Next Generation

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

Those early experiences would define a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His life has involved adversity, including openly discussed battles with depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him beyond the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining 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 did not receive due recognition at the time.

"Institutions often failed to celebrate the truly innovative creators because they lacked the right pedigree," he states.

This project itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of following your instincts.

What would the younger Edward think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."