Edward Enninful discusses Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor 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 states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the resurgence of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality appears as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from music.

"Individuals with a platform should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would forge a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to challenges, including well-documented periods of depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

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

This venture itself uses a different business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of following your instincts.

How would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. 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 whole career. But no obstacle is too great once I’ve decided to do something."