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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time 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 felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the return of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from art.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would define a groundbreaking career built on boldness and diversity. Enninful broke barriers 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 historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"To overlook vast segments 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 established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to challenges, including openly discussed struggles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Institutions didn't always shine a light on the truly innovative creators because they did not have the expected background," he comments.

This venture itself functions with a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."