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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the previous decade, now a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has always been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from music.

"People with a voice should use it," he says, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."

A New Wave of Consciousness

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

The beginnings of his career would define a pioneering career built on boldness and diversity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. 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 never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has involved challenges, including publicly shared struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the traditional credentials," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."