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

An unexpected discovery on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political personality stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from music.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this period will fade."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a trailblazing career built on boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including openly discussed battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he feels, is a testament to the power of following your instincts.

What would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."