Edward Enninful discusses Today's Society: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

For Enninful, the solution has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Defying the popular image of industry figures as loud and temperamental, Enninful is calm and projects peace. His life has included its share of adversity, including openly discussed struggles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period 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 prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him away from the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he comments.

The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, 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 decided to do something."