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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, now a different political personality stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.

In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from literature.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this period will pass."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His journey has involved hardship, including well-documented periods of mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable 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."

The Tate Britain Exhibition

This refusal to be typecast has propelled him outside the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Institutions didn't always promote the most relevant talents because they lacked the expected background," he comments.

The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most influential creative power brokers. His path, he believes, is a testament to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."