Edward Enninful on Today's Society: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, now a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

His formative years would forge a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to 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 stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has included its share of adversity, including openly discussed battles with mental health and addiction.

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, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him beyond the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the traditional credentials," he states.

The magazine 72 itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration 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 impressed. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."