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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, now a more divisive political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote has long been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from literature.

"Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would forge a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man 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 varied communities. Importantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has involved hardship, including well-documented battles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "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 exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has inspired him beyond the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they did not have the traditional credentials," he states.

This venture itself uses a novel strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful industry leaders. His story, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."