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 path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the growth of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the late 90s, today a more divisive political force appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the response has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of prominent faces from music.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.

"When you ignore vast segments 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 accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including well-documented struggles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has led him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the truly innovative creators because they weren't of the expected background," he comments.

This project itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of following your instincts.

What would the younger Edward think of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."